Disease + The Girl with the Prefabricated Heart

An all-time great rock song and performance kicks off “16 Songs”. Here’s Allison Crowe live-in-concert – captured by Turtle Recording’s Larry Anschell (Engineer and Producer) and Brad Graham (Co-Engineer).

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Lyrical and social themes “as we replace marble with plastic” mesh visually with “Dreams That Money Can Buy” – the avant garde cinematic creation of German surrealist, Dadaist+ Hans Richter and collaborators. “The Girl with the Prefabricated Heart“, the second of DTMCB’s seven dream sequences, is shaped by the rich vision of French painter, sculptor, and filmmaker, Fernand Léger. This experimental feature film received the Award for the Best Original Contribution to the Progress of Cinematography at the 1947 Venice Film Festival.

“Power-house intense” says an European reviewer, “”the energy of ‘Disease‘ can easily provide electricity to a small country for a decade.”

Writing in Süddeutsche Zeitung, a major German daily newspaper, journalist Peter Baier sets the stage (in this translation): “From the outset the Canadian songwriter wins the favor of the audience and increases the expectations with her coloratural laugh. Allison Crowe plays the piano with a strong grip. Its sound fits perfectly to her slightly-smoky, expressive, in short: Great voice. Sometimes her playing recalls the keyboard-capers of Konstantin Wecker and then there are moments to bring to mind Modest Mussorgsky’s „Pictures at an Exhibition“.

(And in the original text: Bereits mit ihren ersten Ansagen gewinnt die kanadische Songwriterin mit eigenem Label die Gunst des Publikums, lässt mit ihrem Koloratur-Lachen die Erwartung auf Weiteres ansteigen. Mit kräftigem Zugriff spielt Allison Crowe das Klavier, zu dessen Klang ihre leicht rauchige, ausducksstarke, kurz: große Stimme hervorragend passt. Manchmal erinnert ihr Spiel an die Tasten-Eskapaden eines Konstantin Wecker, dann wieder gibt es Momente, die an den Stil von Modest Mussorgsky’s „Bilder einer Ausstellung“ denken lassen.)

“Amazing composition,” says another in the musician’s broadly international audience, “there is so much intellect in the music writing of Allison Crowe, which you don’t see anywhere these days, not from the new artists nor the established ones.”

It’s an intellect revealed in part via inspired musical choices and its energetic expression is visceral in nature. Energy flows from the performer on-stage to engulf concert-goers as well. Spontaneous eruptions – stomping feet, clapping hands, rhythmically pulsing bodies – accompany this song (a recent bootleg video from Jazzhaus Freiburg further testifies to this rocking reality).

http://www.youtube.com/watch?v=U6t4Gk15IB4

#1 of 16 Songs

Allison Crowe - 16 Songs Video Album - New Moon - Disease

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Tonight Will Be Fine

Combining heart, soul and vision – in words, music and images – Allan Showalter, the much-loved Leonard Cohen+ blogger, presents this video:

http://www.dailymotion.com/videoxcf8ij

Allison Crowe performs Leonard Cohen’s song, “Tonight Will Be Fine“, accompanied by images from the fabulous and free-spirited photog Billie Woods, a painting by Vienna’s boki.b and pics of posters by dedicated German concert promoter “Andreas” – and North American rock poster legend Bob Masse.

And, there be a related DrHGuy blog post as well @ http://drhguy.com/2013/04/03/ten-women-singing-leonard-cohen-songs

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Curtain Rises on “The Pardon”

Makers of “The Pardon” movie are rolling with news of a series of screenings slated this month for Louisiana, the location of the film’s historic action.

The World Premiere happens March 13, 2013 in the Theatres at Canal Place in New Orleans. This night will be a benefit for The Eden House – a charity devoted to helping women who’ve been victims of human trafficking. After this special showing, the film opens on screens in New Orleans, Baton Rouge, Lake Charles, Lafayette, and Shreveport, LA on March 22, 2013. (Additional release dates tba)

The Pardon” stars Jaime King (Sin City, Pearl Harbor and Hart of Dixie), as Toni Jo Henry, at the centre of a sensational murder trial; Academy Award nominee John Hawkes (Winter’s Bone, The Sessions, and Lincoln) as Henry’s partner-in-crime; Jason Lewis (Sex and the City and Mr. Brooks) as her husband; M.C. Gainey (Lost and Con Air) as the jailer; and T. J. Thyne (Bones) as the priest, Father Richard.

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Allison Crowe’s “Tidings” recording of Leonard Cohen’s “Hallelujah” is heard in the film’s dynamic trailer @ http://www.youtube.com/watch?v=oe9yC13crc0

Curtains rising as well on a facebook page for the movie @ http://www.facebook.com/thepardonmovie

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A Case of You’s Blue Stroke of Genius

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“Oh I am a lonely painter, I live in a box of paints” writes Joni Mitchell in “A Case of You” – a song reflecting on her relationship with fellow Canadian Leonard Cohen. Portugal’s “reriz” is inspired to frame this cover, by yet another Canuck, with a dozen paintings of Kirk Hughey, Sante Fe, New Mexico artist now living in Paris, France.

In a palette rich with interpretations, as well as brilliant originals, here’s another favourite from Allison Crowe. The original is on Joni’s album “Blue“. Allison’s interpretation is on “This Little Bird

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RWB Steps Out – “The Doorway” to Tour Canada’s Maritimes

In this part of the Northern Hemisphere, there’s no wish for those lazy, hazy days of Summer to pass… still, in a sign of great things to come, Canada’s Royal Winnipeg Ballet posts the next dates for “The Doorway – the resonantly rewarding ballet choreographed by Jorden Morris and set to the words and music of Leonard Cohen. (These Maritime Canada tour dates are presented in several of those same venues which launched Cohen’s triumphant return to the concert arena in 2008.)

For these Autumnal dates, Allison Crowe reprises her role performing “Hallelujah“. Cris Williamson, whose live recording of “Sisters of Mercy” capped the premiere runs, joins the RWB company to perform the song live on-stage.

Full details tba

Maritime Tour:

Halifax, NS – November 7-8, 2012 – In Tandem, The Vertiginous Thrill of Exactitude, The Doorway, and Pas D’Action – Rebecca Cohn Theatre

Fredericton, NB – November 9, 2012 – In Tandem, The Vertiginous Thrill of Exactitude, The Doorway, and Pas D’Action – The Playhouse

Charlottetown, PE – November 10, 2012 – In Tandem, The Vertiginous Thrill of Exactitude, The Doorway, and Pas D’Action – Confederation Centre of the Arts

Saint John, NB – November 12, 2012 – In Tandem, The Vertiginous Thrill of Exactitude, The Doorway, and Pas D’Action – Imperial Theatre

http://www.rwb.org/tours

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Naked Honesty: Crimson Coast’s Holly Bright Revealing and Revelling

This year, 2012, has seen much excitement and beauty emerge from choreographer Jorden Morris’ creation of Leonard Cohen-inspired ballet for Canada’s Royal Winnipeg Ballet (the first company anywhere to present Cohen’s works as dance/theatre – with 1970s Brian Macdonald choreographed “The Shining People of Leonard Cohen”). Following the success of his “Dance Me to the End of Love” – pas de deux, a sensational highlight of the 2011 Genie Awards telecast – featuring dancers Sophia Lee and Jaime Vargas – Morris’ contemporary dance, “The Doorway – Scenes from Leonard Cohen“, enjoyed its world premiere this Spring. Pierre Meunier, reviewer for La Liberté, says of this newest RWB Cohen ballet: “Chacune des cinq scènes est un petit bijou.” (English translation: “Each of the five scenes is a small jewel.”)

Among those most delighted with news of these works by Morris and company is Holly Bright, Artistic and General Director of Crimson Coast Dance Society, based in Allison Crowe’s birthplace of Nanaimo, BC, Canada. “How wonderful that this collaboration has arisen! RWB are amazing and well-loved across the country as is Allison! I hope I get the opportunity to see it!,” Bright exclaimed upon Allison Crowe teaming up with the RWB to perform “Hallelujah” in “The Doorway”.

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Since settling in Nanaimo in 1992, Holly Bright, choreographer and dancer, has dynamically pursued her mission to advance modern dance and dance literacy in the Harbour City and communities throughout the region. She and Allison’s creative paths crossed when the musician, (now nesting in Corner Brook, NL), was living year-round on BC’s rock – with one particularly brilliant spark emanating from a multi-disciplinary show at Nanaimo’s Port Theatre – presented by the non-profit mental health organization “Open Minds Open Windows”.

“I heard Allison sing Hallelujah at Open Minds Open Windows event we both performed in,” Holly Bright recounts. “I knew I had to dance to her version of this song and my deepest desire was to do it live. It was the perfect ending to a mixed concert around themes of life and death in a cancer society fundraising dance concert produced by Crimson Coast Dance Society.”

In my experience most interpretations of this song give it a down-and-out quality. Don’t get me wrong, these are exquisite and captivating renditions, absolutely hitting one important point of view for this song. What compelled me about Allison’s version was how I related viscerally to the hope contained within her phrasing. It is a shout that comes from deep within her. It seems to me a cry born out of the experience of being broken, of the effect of pride, of loss, of the experience of deep love, spiritual and relational and of life’s call, promise, to heal and grow.”

She composed her interpretation like an anthem, with swelling voice, in such a way as to express the pure passion of the experience of learning about love the hard way. Every sentence in that song slays me, anyway, with an impact for which there are no words. Every line breaks my heart, then proceeds to heal it. Then the ending pauses and builds are like love-making, making everything alright somehow.”

The text is sheer poetry, we all know that, and Leonard Cohen is brilliant. “Love is not a victory march, it is a cold and it’s a broken hallelujah.” My God, I cannot even say those words without my heart sinking while growing at the same time. And isn’t that what we long for out of the experience of brokenness… the possibility of hope… of learning and growing… of feeling the weight of what went wrong and the healing promise that life brings.”

The challenge of creating movement for that dance that was not predictable yet that would weave metaphor into a song that was already dripping with it was delicious. Allison’s YES to my request for the privilege of performing to her singing Hallelujah was a highlight of my career. And the experience itself, on stage, her voice rising to shake the rafters where the angels hang, had me feeling naked “before the lord of song with nothing on my tongue but Hallelujah“.

Holly”

Holly Bright in ‘Costing Not Less Than Everything’, photo by Willow Friday (nee Chandler)

Coda: The dancer’s elemental expression pulses outward in the public pool. That reflection of this performance, one dance piece in Bright’s “This Body of Knowledge” program, is recorded by a trio of reviews published in March and April 2004:

“Holly Bright’s piece introduced the fifth artist of the evening. Allison Crowe sang a soaring rendition of Leonard Cohen’s Hallelujah. She caressed and scraped the lyrics turning Cohen’s song into an anthem. Bright matched this knockout performance with a solo that was sinuous, lush and beautifully phrased. The extension of her expressive arms embraced space and the emotional content of the song majestically.” ~ Russell Kilde (choreographer, theatre director, critic)

“Nanaimo’s own Holly Bright and Allison Crowe provided a stunning finale to the evening. Crowe sang Leonard Cohen¹s “Hallelujah” with a depth and power that made the song soar. Bright¹s duet with the music was filled with strength, vulnerability and intense beauty. Alternating between moments of expansion and quiet intensity, the music and the movement were woven together expertly. The result was a clear revelation of the pathos and the brilliance of human experience.” ~ Keri Wehlander (author, lyricist+)

“In the final number, Allison Crowe at the piano joined Crimson Coast’s Holly Bright for a radiant, rousing, celebratory rendition of Leonard Cohen’s lovely “Hallelujah,” with Holly’s graceful, expansive movements providing the visual corollary for Allison’s full, vibrant voice, completing the circle, merging body and spirit, body and mind.” ~ Shirley Goldberg (Film Studies instructor, writer, cinephile/critic)

In the dance, life – to quote Leonard Cohen anew – “God is alive, magic is afoot”.

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Double Dip of Leonard Cohen Ballet News

Marvellous and mysterious blogger DrHGuy, miner of many Leonard Cohen-faceted diamonds, today presents a post de deux on Canada’s Royal Winnipeg Ballet and the recent engagement of musician Allison Crowe – performing Cohen’s “Hallelujah” with the RWB:

http://1heckofaguy.com/2012/06/16/allison-crowe-gets-the-pointe +

http://drhguy.posterous.com/ballet-with-allison-crowe

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RWB’s Leonard Cohen Ballet Success Rolls North in New Program

“Leonard Cohen’s music comes to life at the Royal Winnipeg Ballet“, CBC News reports earlier this month. After profoundly moving audiences during its world premiere run at Manitoba’s Centennial Concert Hall, this weekend “The Doorway – Scenes from Leonard Cohen” rolls into Northern Manitoba for performances in: The Pas, May 25; Flin Flon, May 26; and Thompson, MB, May 27. In these communities, the Jorden Morris-choreographed “Doorway” is on a program with Peter Quanz’s “In Tandem” and Brian Macdonald’s “Pas D’Action“.

In 1959, it was Brian Macdonald’s “Les Whoops-De-Doo” that the RWB premiered in Flin Flon. And, it’s another Macdonald creation, 1970’s “The Shining People of Leonard Cohen“, which premiered in Paris, France, that marked the first time a professional theatre or dance company produced the works of Canada’s iconic songsmith on stage.

Of the “Shining People” production, cultural commentator Max Wyman notes: “That was absolutely in tune with the zeitgeist. But it was intriguing stuff as well. People loved it.” (More from Wyman, and many more people on the inspiring story of the “constant phoenix” that is the RWB can be enjoyed in the award-winning documentary “40 Years of One Night Stands: The Story of Canada’s Royal Winnipeg Ballet“.)

Of the newest ballet to the words and music of Cohen, Alison Mayes of The Winnipeg Free Press recounts: “Last year, Winnipeg’s Jorden Morris was asked to choreograph a pas de deux to Leonard Cohen’s soulful ‘Dance Me to the End of Love‘ for the nationally televised Genie Awards. It was so well received that the Royal Winnipeg Ballet commissioned Morris to create a longer work to songs by the legendary Cohen. The 44-year-old dancemaker, who teaches at the RWB School and created the company’s hits Peter Pan and Moulin Rouge” now is opening “The Doorway“.

In it, Corps de Ballet member Sophia Lee, (paired with Jaime Vargas for the Genies sensation), dances “Hallelujah” – to the voice and piano of Allison Crowe. On opening, Crowe spoke with CBC Manitoba Scene Producer Andrea Ratuski: “I feel so humbled and so grateful to be a part of this. This is such an amazing company to be able to work with and I’m just so excited. It’s so beautiful to be able to watch Sophia dance — and all the other dancers, too — all the songs. They translate so beautifully. You can kind of see the lyrics within the dance. It’s gorgeous.”

RWB’s Sophia Lee dances to Leonard Cohen’s “Hallelujah” w. Allison Crowe onstage (CBC News – screen-cap)

Feelings shared by the audience. “Spine-tingling” That’s how Holly Harris, dance reviewer for the Winnipeg Free Press, describes the ballet performance of “Hallelujah“. Dan Aysan, owner of Winnipeg’s renowned Selim’s Antiques, and RWB season ticket-holder for much of 26 years posts: “Well… the Royal Winnipeg Ballet surprised me last night. Everything I had ever wanted them to do was done! They focused on the dance and not overwhelming production… and it captivated. The lighting and sound production were fantastic… but rarely did they overshadow the dancers themselves. ‘Luminous‘ was astonishing and EXACTLY the type of work I hope the RWB considers doing more of. ‘The Doorway’ was a wild mix of dance, live music and spoken word that surprised me with it’s depth and simplicity (how often do you get dancers’ movements, Leonard Cohen’s words & music with a smattering of Peter Gzowski’s voice mashed up on stage ?!?)”

CHVN Radio’s Adrienne Daniels attended the opening, and comments: “the triumph of this performance was Mr. Cohen himself. He wasn’t there, but the RWB used audio from interviews he did regarding the songs being danced to and it gave such an incredible insight into the performance that it took it to that magical level. Where spirit and art connect and you FEEL the music. You feel it in your soul, its tangible with your hands and you can literally taste it.

“I was witness to one of the most moving spectacles of human expression that I’ve ever had the pleasure of seeing. My soul took flight for over 2 hours as I watched the poetic nature of the human form in motion; dancing, swaying, fighting, loving, understanding and confusing all at once.”

Details of “The Doorway“, “In Tandem” and “Pas D’Action” performances this weekend, (to recorded music), can be found on the RWB’s site @ http://www.rwb.org/

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Hallelujah ballet

“Spine-tingling.”

That’s how Holly Harris, dance reviewer for the Winnipeg Free Press, describes this performance of “Hallelujah“.

Corps de Ballet member Sophia Lee, fresh from a lead role as “First” in the Royal Winnipeg Ballet’s production of Mark Godden’s “Svengali“, here dances Leonard Cohen’s modern song classic. Allison Crowe sings and plays piano on-stage with Lee in the world premiere of “The Doorway“, choreographed by Jorden Morris. RWB Soloist Jo-Ann Gudilin (nee Sundermeier), “Mother” in “Svengali“, dons the blue dress to perform “Hallelujah” with Crowe on alternate dates.

(CBC News – screen-caps)

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Get with the program

Canada’s Royal Winnipeg Ballet published a lovely “Playbill” size program for its “Pure Ballet” production. Here’s the page therein containing the bio of Allison Crowe, and, the person who made the music that made the dance, “The Doorway” – Leonard Cohen!

click on the image to read full-size

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