Meridian Arts Ensemble:
"Anxiety of Influence"

Channel Classics CCS 9796
Released 1996

Originally published in Cosmik Debris, January 1997.
© 1997 by Paul S. Remington. All Rights Reserved.

Those familiar with the Meridian Arts Ensemble will recognize the names Raymond Stewart, Daniel Grabois, and Jon Nelson. Each are members of the Ensemble, which consists of a five piece brass section, sit-down drummer, and on this CD, piano. Stewart plays tuba, Grabois plays horn, and Nelson plays trumpet. Second trumpet and drums are performed by Josef Burgstaller and John Ferarri, respectively. "Anxiety of Influence" also finds a new recruit, Jon Klibonoff, who fulfills the piano requirements in some of the compositions. Klibonoff's performance is excellent with his most impressive work found on Zappa's "Little House I Used to Live in." Klibonoff brings a sensitive and moving approach to a three minute piano introduction that skillfully articulates Zappa's uncanny ear for rich harmonic chords and complementary melodic forms.

The Meridians have always recognized the importance of being unique. Although the ensemble in the past has specialized in contemporary American compositions, this release uses other ethnic influences as a framework for composed material. "Anxiety of Influence" explores stylistic elements ranging from Afro/Cuban in nature (Nelson), ska (Stewart), French (Debussy), and even musical adaptations of spiritual ceremonies (Barber).

The CD opens with four intriguing works composed by Frank Zappa. The Meridians' Jon Nelson penned the arrangements based on Zappa's original compositions. Performed on this CD are "Run Home Slow," "The Little March," a piano and ensemble version of "Little House I Used to Live in," and a drum solo and ensemble performance of "The Black Page." The Meridians have previously performed and recorded works by Zappa on their "Smart Went Crazy" and "Prime Meridian" releases. Their latest addition brings the same attention to detail and unity between musicians required when performing Zappa's compositions. The Meridians always sound quite comfortable performing Zappa's work.

Stephen Barber's "Semahane" ("Whirling Wall") further explores ideas derived from Zappa's work. Barber dedicates this composition to both Frank Zappa and the Meridian Arts Ensemble. Inspired by the spiritual ceremonies of the Mevlevi sect of Sufism, Barber gives us an abbreviated yet structured aural glimpse of this ritualistic ceremony. While Barber composed "Semahane," Frank Zappa died (December 1993). Thus, the dedication and musical influence of Frank Zappa are found in one segment of this work. The Meridian's quest for new sounds may best be heard in this 21 minute composition. Barber's contribution of past material to the Meridians' repertoire has proven fruitful, and "Whirling Wall" continues along the same explorative path that has helped define the Meridian's unique musical voice.

Also included is a wonderful composition by Stanley Silverman composed in 1977, "Variations on a Theme of Kurt Weill." Silverman's work as musical director for Joseph Papp's production of Brecht and Weill's "Three Penny Opera" became the thematic influence for his Variations. Based on the theme from "Lied von der Unzelanglichkeit Menschlichen Strebens," which translates to "Song of the Insufficiency of Human Endeavor," Silverman takes a more traditional approach by performing the work in a smooth legato form. More recent performances of Weill's theme utilize a quicker tempo. Due to the harmonic and rhythmic simplicity of the work, Silverman composed his Variations parallel to the legato form Weill originally used. The result is a captivating work that captures the stylistic personality that is so characteristic of Kurt Weill.

Consistency in musical output can be as much a defining factor of an Ensemble's ability as the quality of performance. The Meridians have always favored adventurous programming, and the collection of material on "Anxiety of Influence" delves deeper into remote avenues of musical exploration. Their apparent disregard for musical boundaries is what makes the Meridian Arts Ensemble a unique and valuable addition to 20th Century music. There are very few ensembles that can program such a diverse set of material and actually make the repertoire work. Channel Crossings should be applauded for its continued release of material by the Meridians, and the usual high quality production they bring to each CD. I'm sure it won't be long before the Meridians entertain us with another release. Until that time, we have plenty of music to enjoy from their ever-growing catalog.