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ARC Spotlight Artists New Releases

Four Star Review of Sam Boshnack Quintet

Sam Boshnack Quintet:
Nellie Bly Project (ARC-2772)

All About Jazz Review By PAUL RAUCH

Samantha Boshnack is more than a musician and composer. She is a storyteller who walks us through the history of things. With Nellie Bly Project, she tells the story of daredevil journalist, writer, and feminist Elizabeth Cochran Seaman (1864-1922), known by her pen name, Nellie Bly. The compositions, a four movement suite, are like a journey through the history of the struggles of women throughout American history, a struggle that continues today, and that Boshnack describes as a daily part of her existence. “Feminism is a big issue for me, it’s sort of part of my daily existence, because it’s the struggle. With Nellie Bly Project, I just thought she was such an amazing force in getting things done, when everything was against her.” Boshnack utilized a theme of cultural unity in her last project, the brilliant Global Concertos(ARC, 2016), with her ensemble B’shnorkestra, and has emerged as more than a composer, and trumpeter. Her vision of cultural and sociological unity and justice has established her as a narrative artist with a voice that needs to be heard. “I respect artists, and anybody in the public eye who can come out really strong and say all sorts of things and then take all sorts of abuse. Anybody who says anything gets a lot of attack. I try my best, but I definitely respect those who will really go out on a limb. Global Concertos and Nellie Bly Project were ways to have these activist ideas, but in a subtle way. I think sometimes if it’s subtle, you can get through,” she states.

“Energy, rightly applied, can accomplish anything” —Nellie Bly

Innocent, unaffected, and frank. These are the words used by Bly to define a “true” woman. In the opening movement of the album, “Expositions,” Boshnack delves into the energy and inspiration that fueled Bly’s activism, in a time when a woman journalist was relegated to topics deemed gender appropriate. After a brief melodic repose to the begin the movement, bassist Isaac Castillo, and drummer Max Wood provide a rollicking groove, underpinned by the keyboard of Alex Chadsey, demonstrating what is to be a recurring theme throughout the album. After progressing to a brief interlude from Wood, Bly’s words, and quotes are used both in a narrative sense, and in the case of this opening movement, in a melodic sense, with vocalists Valerie Holt and Anne Mathews singing in a mantra like chant, “Energy rightly applied, can accomplish anything.” Boshnack has the unique ability to join the worlds of classical composition, and free improvisation, into a sound that views diametric opposites as strengths, and creates a cohesive narrative voice to express a story, to enable a journey. She uses her trumpet and compositional prowess to create a prose that is perhaps more comparable in form to Whitman and Neruda, than to Miles and Diz. Her narrative pieces are like free verse poetry, with angular melodies, unexpected stops, and abstract poetic cadences, that are ultimately impressionistic and expressive. Without this understanding by the listener, along with knowledge of the social narrative expressed, gaining insight and appreciation for this work may be difficult to attain.

“It is only after one is in trouble that one realizes how little sympathy and kindness there is in the world.” —Nellie Bly

The second movement, “After One Is In Trouble,” is an homage to Bly’s undercover assignment in 1887, to expose the brutality and neglect at the Women’s Lunatic Asylum on Blackwell Island. Working for Joseph Pulitzer’s newspaper, the New York World, Bly feigned insanity to gain entrance to the asylum, and experience the horror, the abuse of this institution first hand. Her work, later published in book form, brought on major change in how the city of New York defined, diagnosed, and treated insanity. The piece begins with an intertwining melody for Boshnack’s trumpet and the clarinet of Beth Fleenor. It is like a solemn march, ever so slightly increasing in pace and volume, that ends in a pulsing percussive heartbeat supplied by Wood. It is if she has arrived at the asylum, awaiting entrance.

“They were being driven to a prison, through no fault of their own, in all probability for life. In comparison, how much easier it would be to walk to the gallows than to this tomb of living horrors.” —Nellie Bly

A sparse melody, intricate bass line, and Woods’ pulsing rhythm conjures images of a growing madness, as if walking down a hallway through the 19th century asylum, Bly seeing the faces of mad sadness, peering in each doorway and becoming overcome with fear and despair. Chadsey’s keyboard distant rant, then walking bass line picks up the pace, heart racing, body numb, the cold concrete and tile walls reflecting the crying and muttering of pain and anguish, and finally, a release. One can then imagine the music as a survivor’s last chance, of holding on to one last shred of beauty before descending into the abyss of institutional madness, an impulse of hope, renewal, escape, the perception of freedom and joy.

“It’s Only a Matter of twenty eight thousand miles I shall be back again.” —Nellie Bly

The album’s third movement, “72 Days,” depicts Bly’s successful attempt to defeat Jules Verne’s fictional record of “Around the World in 80 days.” Starting with a chanting like vocal and trumpet line stating the above quote, the musical narrative expresses clearly the rhythm of the two modes of transport available to her in this time-railroad and steamship. Chadsey tops off the statement with both written and improvised sections, the latter displaying his stellar playing that is truly evident throughout the recording.

“I would rather go in dead and successful than alive and behind time.” —Nellie Bly

This quote is weaved into a mantra like chanting, and beautiful harmonic passage, leading to a meandering, dynamic clarinet solo from Fleenor. Her beautiful tone, and passages that display lightning fast runs, intertwined with vibrato accented long tones, conjures peaceful and joyfully energetic images, imagining a vibrant positivity. To Bly, the huge undertaking required her to be undaunted, to exude the confidence that she would succeed, while the world watched, and hoped.

“Is it possible for us to struggle and overcome fate, or are we merely being swept along a course which all our efforts fail to alter or change?” —Nellie Bly

The fourth movement, “Legacy,” is Boshnack’s homage and tribute to Bly. It illustrates the remarkable impact Bly has had on modern feminism, nearly a century since her passing, and in particular, how this legacy has drawn such a creative and important work from an artist such as Boshnack. The movement as well presents this quintet as one that has worked extensively with Boshnack, bringing out the nuances of this musical statement with conviction and emotion. The quintet expresses an understanding, and commits to a partnership with the artist to such an extent as to create images that have enduring social impact, within a musical context.

Boshnack, both within ensemble playing, and skillful soloing, offers her best playing to date on trumpet, supported strongly by Castillo, Chadsey and Wood. Fleenor, a musical constant in Boshnack’s work in Seattle, plays with unconventional prowess, drawing musical, poetic, and social parallels with the composing artist. The final movement ends on a haunting solo trumpet phrase, that like so many of Boshnack’s pieces, leaves the listener out on the edge, dauntingly lacking finality. It expresses that while much has been accomplished by the feminist movement since the passing of Bly, there is still so much work left to be done. Women still must work twice as hard to gain recognition and attain success, including in the music world. The social narrative to achieve gender equity, is still a story being told loudly, and clearly. The struggle continues, with the courageous activism of Nellie Bly still serving as a beacon of inspiration and persistence to modern “daredevil” artists such as Boshnack. Her ability to create a narrative musically, and truly educate and inspire the listener is rare, and important. It’s part of what makes music a language that unites cultures, and empowers justice.

Also read at All About Jazz

Track Listing: Expositions; After One Is In Trouble; 72 Days; Legacy.

Personnel: Samantha Boshnack: trumpet, vocals; Beth Fleenor: clarinet, bass clarinet; Alex Chadsey: piano, keyboards; Isaac Castillo: bass; Max Wood: drums; Valerie Holt: vocals (tracks 1&3); Anne Mathews: vocals (tracks 1 & 3); Anne Whitfield: spoken vocals (tracks 2 & 4).

Title: Nellie Bly Project | Year Released: 2017 | Record Label: ARC – Artists Recording Collective

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ARC Spotlight Artists New Releases

Arcamone remasters EVOLVE (ARC2802)

Digital Album

Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Buy Now $8 USD or more
Send as Gift

1. In View 09:29
2. Burst 16:08
3. Highline 05:36
4. Arrows 10:10
5. Two Sides 08:20
6. Leviathan 11:19
7. Perigee 05:27
8. Apogee 08:18
9. Out View 01:14

credits
released June 23, 2017

Dan Arcamone (Guitar/Compositions)
Sean Nowell (Tenor Saxophone/Effects)
Henry Lugo (Bass)
Kenny Grohowski (Drums)

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Categories
ARC Spotlight Artists New Releases

Chronogram magazine reviews Siegel’s King of Xhosa

Review

The Chronogram’s John Burdick reviews Jeff “Siege” Siegel Quartet’s “King of Xhosa” release.

Listen + Buy = CD Baby

Listen + Buy = CD Baby
Categories
ARC Spotlight Artists New Releases

PRE ORDER Sam Boshnack Quintet’s second album, NELLY BLY PROJECT (ARC-2772)

FOR IMMEDIATE RELEASE

Kansas City – The Artists Recording Collective (ARC) label, is pleased to announce the latest recorded release by Seattle-based composer and trumpeter, Samantha Boshnack.

“Fresh, smart, and bold describe Samantha Boshnack’s Nellie Bly Project. Inspired by the pioneer female American reporter from the late 1800s, Boshnack weaves significant quotes by the journalist into a shifting musical tapestry. Bly (aka Elizabeth Cochran) defined a true woman as “innocent, unaffected, and frank.” While Boshnack’s sound embodies more life experience than what could be described as innocent, listeners will hear an unaffected and frank approach to writing, improvising, and recording…. Boshnack’s music stretches and sings with refreshing strength.” – Steve Griggs, Earshot Jazz.

Sam Boshnack Quintet’s second album, Nelly Bly Project (ARC-2772) is an illustrative and evocative musical portrait of a hero that Boshnack has admired since a young age. Bly was a 19th-century daredevil feminist and journalist who worked within extreme confines to achieve great things for both the subjects she covered (including mental health and prison facilities), and for women in her field.  The album moves between the narrative and abstract, creating an imaginative world that channels Bly’s groundbreaking spirit.

Pre-order

Pre-order Nellie Bly Project! You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released, on August 18, 2017

Credits

Samantha Boshnack trumpet & vocal
Beth Fleenor clarinet & bass clarinet
Alex Chadsey piano & keyboards
Isaac Castillo upright & electric bass
Max Wood drums
Valerie Holt and Anne Mathews vocals (tracks 1 & 3)
Anne Whitfield spoken vocals (tracks 2 & 4)

Recorded by Floyd Reitsma at Studio Litho, Seattle, WA
Mixed by Evan Schiller at zulusound, Seattle, WA
Mastered by Ed Brooks at Resonant Mastering, Seattle, WA

Album artwork by Steven Arntson
Album design by Anne Mathews

Press and Media Contact:

sboshnack@hotmail.com | (206)412-7350
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Label Contact:


Artists Recording Collective
Attn: Christopher Burnett, Chief Operations Officer
Post Office Box 47
Leavenworth, KS  66048-0047
Office/Fax: 913.250.5141
Portal: www.ArtistsRecordingCollective.biz

ARTISTS RECORDING COLLECTIVE (ARC) is an internationally recognized brand and professional recording label that emphasizes promoting and facilitating the distribution and utilization of the works created by our members. ARC is a contemporary business model that provides a viable 21st Century Music Industry Platform for artists.

Categories
ARC Spotlight Artists New Releases

Valdez releases Shades of Happiness

Saxophonist David Valdez leads this lyrical, romantic, and sophisticated blend of Modern Jazz, woodwind-heavy Classical chamber music and authentic Latin and Brazilian styles.
Genre: Jazz: Chamber Jazz
Release Date: 2017

Listen + Buy = CD Baby

Visit the store.

Album Notes

David Valdez
(Photo by Robert Wade)
Alto saxophonist David Valdez leads this lush, lyrical and sophisticated Latin Chamber-Jazz ensemble, performing the compositions of Brazilian-born pianist/composer Jasnam Daya Singh, Lee Morgan, and Perico Sambeat.

Valdez grew up in Santa Cruz, California and over the years has lived and worked in the Bay Area, Boston, New York City and Portland. He recently relocated to Kansas City from the Northwest. Shades of Happiness is his second Latin/Brazilian-Jazz album.

Valdez’s first Latin-Jazz CD Oasis, which was released in 2006, received radio airplay in 14 countries. Shades of Happiness is highly orchestrated, relaxed and a romantic album that covers a wide range of styles, including Bolero, Tango, Choro, Afro-Cuban, Boss Nova, Latin Waltz, and Modern Jazz.

The result is a refined and romantic, yet harmonically complex recording with broad appeal. Jazz aficionados, Classical Chamber music lovers, audiophiles, and serious fans of Brazilian, Afro-Cuban and Argentine styles all will find something to sink their teeth here.

Singh’s compositions are an amalgam of influences that include Astor Piazzolla, Romantic Classical composers like Ravel and Debussy, Chick Corea, Keith Jarrett, as well as the sophisticated styles of Rio de Janeiro, where he was raised.

Valdez’s warm alto saxophone is supported by clarinetist/bass clarinetist Harvey Wainapel, a West Coast-based musician who is as deeply immersed in Brazilian music as he is in Jazz. Wainapel has been a lynchpin of the Bay Area Jazz scene for decades and has worked with Joe Lovano, McCoy Tyner, Airto & Flora, Jovino Santos Neto, and Ray Charles.

The rhythm section is rounded out by Phoenix bassist Christopher Finet and Bay Area drummer Mike Shannon, who are both equally comfortable with modern Jazz or Classical music. The intersection of stylistic influences never sounds contrived.

This distinctly Pan-American Jazz album always manages to sound natural and relaxed, even while maintaining the controlled approach of a Classical chamber ensemble.

Credits

David Valdez – alto saxophone
Harvey Wainapel – clarinet, bass clarinet
Jasnam Daya Singh – piano/composer
Christopher Finet – bass
Mike Shannon – drums
Pere Soto – guitar

Recorded July 14th and 15th, 2015 at Supernatural Sound in Oregon City, by recording engineer Sacha Müller.

Mixed in April 2017 by Sacha Müller. Mastered April 14th, 2017 at Specialized Mastering by Dana White.
 
Also, see:
www.davidvaldez.blogspot.com

Categories
ARC Spotlight Artists New Releases

Jazz Ambassador Magazine features ARC Label

LETTER TO THE EDITOR

Larry,
 
We have collectively read the Artists Recording Collective LLC feature article you wrote and published in the June / July issue of Jazz Ambassador Magazine (JAM). 
 
We want to say THANKS to you and the Kansas City Jazz Ambassadors organization for a great article about our company and for this significant recognition of our efforts in the industry.  
 
Respectfully in music,
 
All of the artists at:
Click links below images to read the article.
Read the JAM segment with the ARC article in PDF – HERE.

“Collectively, they continue to define a 21st Century model for a jazz record label.”
Larry Kopitnik, JAM editor writes about the Artists Recording Collective label
(June / July 2017 issue of Jazz Ambassador Magazine)

Read the JAM segment with the ARC article in PDF – HERE.

“Collectively and individually, they are looking forward and breaking the seams of the traditional jazz box.”
Larry Kopitnik, JAM editor writes about the Artists Recording Collective label
(June / July 2017 issue of Jazz Ambassador Magazine)

Read the JAM segment with the ARC article in PDF – HERE.

Long Ago Today (ARC-2116*)

by Sumi Tonooka Trio
with Rufus Reid bass and Bob Braye drums
*this is the debut release by the label

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Visit the Kansas City Jazz Ambassadors online:

Categories
ARC Spotlight Artists New Releases

Live Concert Combines Live Webcast June 6

FOR IMMEDIATE RELEASE

Live Concert Combines Live Webcast June 6

Kansas City USA – The Westport Coffeehouse Theater will be the venue location for a live concert performance by the Christopher Burnett Quartet with special guest, Michael Jefry Stevens at 7 p.m. – 9:30 p.m., June 6.

Tickets are $10 at the door for local audiences and $5 to watch the live webcast online from anywhere around the world.

The live webcast of the concert will begin at 7 p.m. using the Concert Window platform at this link https://www.concertwindow.com/cbjazz

About the event:

Emcee and event producer, Toni Gates will serve as host of the live concert which will feature a program of original compositions by both, Mr. Stevens and Mr. Burnett. The music will be performed by jazz quintet, and selections selected from the following original works:

• Analog Networking (Burnett)
• Breeze (Stevens)
• Dance (Stevens)
• Hauptbahnhof (Burnett)
• Movements (Burnett)
• Only Love (Stevens)
• Parallel Lines (Stevens)
• Perspectives (Burnett)
• Point of View (Stevens)
• The Moffett Family (Stevens)
• The River Po (Stevens)
• Tina Ballerina (Stevens)
• Today This Moment (Stevens)
• Trinity (Stevens)
• What About The Future?

CD Recordings will be available at the ticket table. And, all music is available at the major digital music stores like Apple Music, iTunes, CD Baby, and Amazon. Several compositions will be debut performances.

About the artists:

Pianist, Composer and “Steinway Artist,” Michael Jefry Stevens has released over 80 CDs and composed over 340 works for both large and small ensembles. An active bandleader for over 40 years, his current working musical ensembles include the “Conference Call Quartet,” the “Fonda/Stevens Group,” “Eastern Boundary Quartet,” his collaboration with New Orleans horn man, Brian “Breeze” Cayolle and “Trio Generations” featuring saxophonist Oliver Lake.

Also, see www.MichaelJefryStevens.com

Burnett (Selmer Saxophone Artist), guitarist Charles Gatschet, bassist Andrew W. Stinson, and percussionist Clarence Smith are members of Christopher Burnett’s guitar quartet. The quartet also forms the basis of an international ensemble, The Dino Massa Kansas City Quintet, whose critically acclaimed debut release titled “Echoes of Europe” is available worldwide via the Kansas City-based ARC label. Christopher Burnett’s ensembles have performed at the top venues in Kansas City, and the quartet is also scheduled to perform at the 28th Annual Roots Festival in Paola, Kansas on Aug. 26.

Also, see www.BurnettMusicCompany.com

About the venue:

Westport Coffeehouse opened in 1996 and is a full-service coffeehouse with an exceptional “black box” theatre. Also known as an oasis in the middle of Westport” “Entertainment District,” amenities and attractions include high-speed Internet, theater and comedy events, and live music performances in the Westport Coffeehouse Theater. Drinks are a specialty with choices ranging from smoothies to ice cream and of course exceptional coffees. Grilled panini sandwiches and baking “by Pam” add to the offerings.

Also, see www.WestportCoffeehouse.com

Event Details:

Westport Coffeehouse Theater and the
Artists Recording Collective label present

Christopher Burnett QUARTET

+ Michael Jefry Stevens

IN CONCERT

TUESDAY JUNE 6 / 7 P.M. + Video Recording

Westport Coffeehouse Theater
4010 Pennsylvania Avenue
Kansas City, Missouri 64111

816.756.3222

$10 cover at the door
$5 webcast cover online

Contact:
operations@artistsrecordingcollective.biz

www.ArtistsRecordingCollective.biz

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Cost: Payment required – Christopher Burnett Quartet + Michael Jefry Stevens at Westport Coffeehouse Theater in KC – LIVE online show Tuesday, June 6th at 8:00 pm EDT 7:00 pm CDT. NOTICE: CONCERT WINDOW TICKETS ARE FOR THE LIVE STREAM ONLY. THE LIVE STREAM IS A WAY TO BE “AT THE CONCERT” NO MATTER WHERE YOU ARE IN THE WORLD! JOIN US. WE WILL STREAM A SEGMENT OF THIS EVENT BEGINNING AT 7:00 PM CST.

TWO AUDIENCE OPTIONS

+ Live Webcast Ticket $5 (pay online)

+ Live Concert $10 (pay at the door)

Categories
ARC Spotlight Artists New Releases

NEW RELEASE by Ryan Anselmi – Movin’ On is a tribute to Junior Mance

“Ryan’s one of a kind. He has a voice of his own and
a musical sensibility that really excites a crowd.” — Junior Mance

“Anselmi blows with subtle tonal shadings that reveal
the player’s grace and insight into the composition ” — Downbeat

listen + buy

description

Movin’ On (ARC-2758) is a tribute to blues and jazz legend, pianist Junior Mance.

Ryan and Junior toured and recorded together in the early 2000’s.

Ryan Anselmi and Company stir together a mix of many American musical
traditions that are sure to impress – and, if nothing else get you movin’.

credits

released May 6, 2017, on the Artists Recording Collective label

Ryan Anselmi – Sax/Harmonica
Daniel Foose – Bass
Whitney Lockert – Guitar
David Caldwell-Mason – Keyboard
Jeff Barton – Drums
Steve Purcell – Aux. Perc
* Rich Polatchek – Trumpet on Jr. Walker, Movin’ On and Chicken
* Anthony Cavallo – Bass on Drown in my own tears and Blue Line Shuffle
* Dave Storaz – Keys on Dr. Foose, Thank you Junior Mance and Spanky’s

LISTEN + BUY = BANDCAMP

Categories
ARC Spotlight Artists New Releases

Italian RAI3 Radio plays Dino Massa Kansas City Quintet

RAI3 BROADCAST PLAYER:
Battiti del 04/04/2017

RAI3 PLAYLIST DETAILS

o TKAY MAIDZA, Always Been, da “Tkay” – Kitsuné Musique

o DIE FØRM, No Kill, da “La dimensione umana” – Officina Fonografica Italiana cd OFI006

o KING AYISOBA, Dapagara (feat. Orlando Julius & Zenabu), da “1000 Can Die” – Glitterbeat GBCD 044

o MICHEL EDELIN, This Way Please, da “Kalamania” – Rogue Art ROG-0070

o COH, 132, da “Music Vol.” – Editions Mego 222

o COH, 2000 lieues, da “Music Vol.” – Editions Mego 222

o PĘKALA/KORDYLASINSKA, Vermont Counterpoint, da “Werke Für Schagzeug und elektroacustische Geräte” – Gagarin Records GR2037

o PĘKALA/KORDYLASINSKA, Modular#1, da “Werke Für Schagzeug und elektroacustische Geräte” – Gagarin Records GR2037

o JAAP BLONK, Aspera, da “August Ananke” – Kontrans 561

o VITTORIO MEZZA TRIO, Tammurriata nera, da “Napoli Jazz Songs” – Abeat Records ABJZ142

o CIRO RICCARDI, I marinai di Kronstadt, da “Racconti di vinile” – Alfa Music AFMCD190

o DINO MASSA KANSAS CITY QUINTET, Tarantella, da “Echoes Of Europe” – Artist Recording Collective ARC2680

ECHOES OF EUROPE (ARC2680)

BUY CD – Echoes of Europe (ARC-2680)

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Categories
ARC Spotlight Artists New Releases

New Release by Sam Boshnack Quintet

THE NELLIE BLY PROJECT (ARC-2772)

We are pleased to announce a soon to be released recording of the new work by composer Samantha Boshnack – inspired by the life of daredevil, feminist, journalist & iconoclast Nellie Bly (1864 – 1922). A live premiere of the work was presented in concert in 2014.

FROM THE COMPOSER

SAM BOSHNACK QUINTET

Sam Boshnack | trumpet & compositions
Beth Fleenor | clarinets & voice
Dawn Clement | piano & keyboards
Isaac Castillo | bass
Max Wood | drums

A WORK OF FOUR MOVEMENTS

I. Expositions – This movement is about looking at Nellie’s fiery and spirited, yet persistent and intelligent personality. I have incorporated Bly quotes as lyrics here – “Energy rightly applied can accomplish anything.” At the age of 20 she responded to an extremely misogynistic article entitled ‘What Girls Are Good For’ in the Pittsburgh Dispatch. This letter impressed the editor and he requested in his column for the writer to come forward. The next day she showed up in person at the newspaper’s office and managed to push her way into a career in journalism. Her only education had been one term of boarding school. Bly went to on to be regarded by her contemporaries as “the best reporter in America.” In one of her stories Bly defined a “true woman” as- “Innocent, unaffected and frank.” These were definitely three virtues she liked to project- she committed her life to causes she believed were important even though those around her were constantly trying to “put her in her place” and make her cover topics deemed more suitable for her gender.

II. After One is In Trouble – this movement is about Nellie Bly’s Madhouse exposé. In 1887, Bly had talked her way into the office of Joseph Pulitzer’s newspaper, The New York World, and took an undercover assignment for which she feigned insanity and investigated reports of brutality and neglect at the Women’s Lunatic Asylum on Blackwell’s Island. She was committed there for 10 days, experiencing atrocious conditions and putting herself in grave danger. Her reports (which were later published in book form) brought her lasting fame and caused major changes in how the City of New York cared for and diagnosed insanity. When she described her attempts to get committed she said – “It is only after one is in trouble that one realizes how little sympathy and kindness there are in the world.” She began her “lunatic” role-playing at a working class boarding house. Only one woman cared about her and tried to help her. After just one night, the police were summoned to take her away to the courthouse. The judge had her examined by several doctors, who all declared her to be insane.

III. 72 Days – is based on Nellie Bly’s book Around the World in Seventy-Two Days, in which she set out on a race around the world to beat Jules Verne’s fictional record, while the whole world watched and cheered her on. The idea for this story was hers, but she had to fight hard to make it happen because her editors did not believe it could be done. The two telling quotes I extracted from her book are – “It’s only a matter of 28,000 miles… I shall be back again” and “I would rather go in dead and successful than alive and behind time.” Once again we see Nellie being unaffected by the immense task before her and with an absolute conviction that she would succeed. The two methods of transport available to her were railroad and steamship – I have incorporated the rhythmic elements of these modes into the music as well.

IV. Legacy

VIDEO – The Nellie Bly Project: Movement 1 – Expositions

Wayward Music Series
Chapel Performance Space
Seattle
Live Premiere Performance – May 9, 2014
Audio recording engineer – Robb Kunz
Video editing – Brianna Atwell
Video by Latona Arts
This concert was made possible thanks to the generous support of 4culture

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