A&E
Doc Woods gives captivating performance in annual Wellin Hall concert
By Kyandreia Jones ’19
September 22, 2016
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The Leonard C. Ferguson Professor of Music Michael “Doctuh” Woods conducted a concert in the Wellin Hall, Schambach Center for Music and the Performing Arts this past Wednesday, Sept. 14.
The concert, “Sonic Science,” served as as night of tapping feet, bobbing heads and soulful smiles.
Woods began the evening by introducing himself as well as The Salt City Jazz Collective, directed by Angelo Candela.
The Salt City Jazz Collective: Joe Riposo, Rick Huyge, John Delia, Frank Grosso, Bob Cesari on the saxophones; Steve Carney, Jeff Stockham, Scott Rutledge and Paul Merrill on the trumpets;
Mark Anderson, Angelo Candela, Bill Palange and Jim Lamica on the trombones.
In addition, Guitarist Rick Balestra, Pianist Tom Witkowski, Bassist Joey Arcuri and Drummer Tom Killian made up the collective.
“Normally I have to run around and put a band together,” Woods said, sharing his gratitude about having the musicians. “They came gift wrapped.”
Nine selections comprised the concert, a nine movement jazz suite. On the back of the program, Woods explained the titles of these selections.
“Every living thing leaves behind evidence that it had life,” he wrote, regarding the first composition of the night “Carbon Footprint.” “If what we as a people leave behind had a jazz flavor here is what I think it would sound like.”
Reminiscent of a saying he often heard when two men were about to fight, Woods’ song “It’s On Now” declared a conflict.
Similar to “It’s On Now” Woods incorporated his own experiences, life and passion within the musical selections. However, other selections such as “Casey Diah” expressed Woods’ love of puns and playing with words.
About an invented character who invented Mexican Snacks, “Casey Diah,” as suggested by its comical title, moved audience members to clap, dance and savor latin flavor.
The title piece, “Sonic Science,” explored advanced harmonies while keeping the “swing feel of jazz.”
“The Poor Man’s Prelude,” a spoken word poem written by Woods and performed by Baritone Max Smith, preceded “The Poor Man’s Soul.”
The poem, performed while the band played a film score, discussed a poor man and the way that society treated him. Words like “less,” “rises” and “steep path” demonstrate the arduous life of a poor man. Somehow he still manages to persevere, to walk with “steps as heavy, but as steady as rock,” and make something of his own life. This, of course, happens despite how those around him treat him like he is beneath them.
In addition, he obtains knowledge despite education being “above his pay grade.” This underscores that what a poor man knows is “both sacred and expensive.”
The selection “The Poor Man’s Soul” that followed upheld these same views (“the beauty of the poor man that is often overlooked and whose voice goes unheard”). However, it depicted the poor man now that he has become who he wanted to be in life and has risen from poverty.
The last three compositions of the night included “Lunatic, Heretic Beatnik Joe” (based off that one guy in every town who is strange but harmless), “When Chris is Cross”(written for Woods’s son who would only stop crying when the musician played this melody for him), and “Every Once in Awhile” (for the times when things go well and there is “peace and joy to be had”).
Each musical selection had its own unique sound and key message due to their various purposes. However, one of the most notable was the title piece, “Sonic Sound.”
While introducing “Sonic Sound,” Woods mentioned the love mankind feels about different sources of pleasure. For example, the joy in buying and owning a nice car.
Moved by the aforementioned detail, Woods sought to get to the science behind why we love what we love.
The aforementioned desire reinforces Woods’ idea that sound is both “art and science.” Further, Woods asked the audience, “What does happiness sound like?”
This demonstrated his curiosity about science versus “emotive properties.” Also, this aides his idea that “the arts take scientific discoveries and endows them with emotion, meaning and personality.”
Before “Sonic Sound” commenced Woods warned the crowd, “We’re going into the future. It may get a little strange, a little abstract.”
However, members of the audience only encouraged the piece and its performer more. We decided that we would go where Woods took us. Often, we were overjoyed by where we went.
Of note, drummer Tom Killian shone in this piece. The audience could not get enough of his drum solo full of rhythm and fun.
On the subject of the musicians, throughout the concert, the musical talent of each performer baffled and thrilled the audience.
Like Killian, many of the performers had solos within each piece that showed their strength, range and passion for music. This coupled with the visible chemistry they shared with Woods transitioned the concert from a night of sweet jazz into a night of cheerfulness, humor and admiration.
“I’m just here waving my hands,” Woods said of his position stage.
Despite the humble claim, Woods went above and beyond his role as musical conductor.
There were many instances when bassist Joey Arcuri (who also played guitar in another piece) looked up with a smile at Woods and with a joy that the conductor mirrored without hesitation. Moved, Woods would nod more childishly, dance, hop and allow his hips to sway to the music. In turn, the other musicians played with glistening eyes and cheerful countenances. After each solo, the crowd applauded with fever, adding to the celebratory atmosphere of the evening.
I would recommend a live music performance such as “Sonic Science,” presented by the Hamilton College Department of Music, to music lovers, faculty, the people of Clinton and anyone who needs a reminder that, as expressed in Woods’ selection “Every Once In Awhile,” sometimes things go right.
Most importantly, that there are reasons for happiness, humor and a good time.