Sacred sounds

Thee Philharmonic, Wholebellies, more

by Michael Caito

It had been several months since Rhode Island Philharmonic music director Larry Rachleff had led a Classical Series offering, so a few creative flourishes were expected from last Saturday's performance. Instant karma:10 members of the brass re-enacting a 16th-century "split choir" scene from St. Mark's Cathedral in Venice -- two staggered rows of five players stage left and right -- as it appeared when accompanying that choir 400 years ago. This R.I.P. premiere, the five-minute canzona"Septimi toni" from Giovanni Gabrieli's Sacred Symphony, was beautifully expressive, full of majesty and grandeur yet not altiloquent. The following suite from Aaron Copland's Appalachian Springwas a smooth segue, as Copland had often deferred to Gabrieli's compositional savoir faire. The now-assembled orchestra took pains to nudge the sections along in an attempt to re-create the eight partitive moods of the piece, whose origin was a less-orchestrated take on a Hart Crane poem. As poetry it was perfect; emotionally, there was a lot happening in a short period, and the orchestra was up to this tough cookie.

After intermission guest clarinet soloist David Shifrin was technically adept; his remarkable circular breathing technique was brought up at the post-concert chat in the wake of the showers of clustered notes which finish his featured Weber clarinet concerto. A certain verve, sure, but the clarinet seems less fitting as a solo instrument than violin or piano. Patches of the Weber seemed soulless, and the backing orchestra seemed too pent-up. They certainly got their chance for release on the closing Hindemith, whose introduction by Rachleff was spiced with a funny moment. The amplification system crackled loudly, seemingly in anger at Rachleff's invocation of the term "Germanic jazz," while the conductor was explaining Hindemith's flight from Germany's rising Third Reich to New York, where he wrote this work based on a Weber piano duet. Investing the work with passion, nuance and more passion, the orchestra gave a smashing, detailed rendition, serving notice that the organization is going for the whole enchilada, and going for it right now. As evidence, each show under Rachleff has been an improvement on the last. Another solid performance.

OCCUPY THE CASTLE: A pair of events for fans of vocal music occur in two places this Saturday, when the Providence Singers and R.I. Civic Chorale &Orchestra perform. The Singers, under new artistic director Julian Wachner, essay works by Britten, Copland and Persichetti, while the Civic Chorale's program features Duruflé, Bach and Schubert. Two fine programs, yet why two small-yet-devoted organizations (celebrating 65 years between them) with such obviously overlapping interests would schedule same-day affairs is mystifying. Details: Civic Chorale at 521-5670 and the Providence Singers at 333-0915, ext. 44678. Then flip a coin.

RIGHTEOUS WEEK:When singer/guitarist Ani DiFranco is on, which is almost always, you can taste and smell exactly what she's singing about, and her Righteous Babe Records' "indie cred" is unassailable. During a phone interview a coupla years ago, she was in a great mood throughout -- a genuinely happy person.

The day after that love-fest Lupo's gig I ran into her at the Avon. Same deal in person. Which is precisely why her fans are so whole-hearted in their support of RBR's rising star: she's fervent and B.S.-free, with a cinematographer's hawk-eye for both framing and fleshing out scenes. While recent Newport Folk Fest fans may have been put off by her punk-tinged, comparatively hard sell, the fact remains that even when bringin' heavily-syncopated hip-hop, DiFranco's is an often quiet and introspective realm -- with razor-keen edges. Ever been cut in two by a cloud? That may be what happens at PPAC Saturday. Here's to many tracks from her bestest, Not a Pretty Girl, though last year's Dilate wasn't too shabby either. And Andy Sto' out back on drums is not to be missed. Welcome back, Ani. Afterwards at Rogue, DJHula Bomb spins mad wax in celebration of Acme Video's three-year anniversary. That is, if Acme's mighty Jim Hunt survives the Cali waves this week. True surfers, I've learned, are bananas. Great people . . . just bananas.

Next night there's an invasion by Kill Rock Stars, the label once (wo-) manned by a firebrand named Tinuviel, whose roster -- overly and unfairly pigeonholed under the Riot Grrrl anti-establishment umbrella -- put out serious, killer vinyl and CDs from an array of up-and-coming, brash Left Coast bands. Many were fanatical about Vancouver's superb Mecca Normal (me too), and they rocked out whenever necessary. Hidden Agenda are your hosts at the Call Sunday when Long Hind Legs play with the Thrones. Go.

Monday finds two notable St. Patty's events downtown, the first featuring a Custom House Tavern open mike. Hosted by the inimitable Providence Wholebellies, it features fiddler Rachel Maloney, Messrs. Steve Dubois (Neo-'90s guitarist) and harmonica demigod Chris Turner -- who, besides his sterling work with Rachel at Trinity Rep, also has been turning up the Call's Thursday Buffet with a host of blued-note luminaries. Chris and Rachel are doing a few Mondays a month there, but St. Patty's is special. I'd expect Mance Grady (bodhranist who, with Maloney and Turner comprise 100th Monkey) and maybe even multi-instrumentalist/librettist Steve Jobe of the Amoebic Ensemble, who is currently putting finishing touches on his refurbished Jeanne d'Arc opera going up at the St. Xavier's chapel downtown in a few weeks. If one-thirtieth of the Wholebellies' musical pals show, it will be memorable.

The Followers, a super-group of sorts featuring Kraig Jordan (g), Bruce Moravec (d), Don Sanders (g), Jack McKenna (b) and Stephen Twining (v), assemble at the Met Café's Loser Bar on St. Patty's as well. They had a track on the first Load compilation's vinyl version. The benchmark against which all groups of this type are measured is still the Fezlords, but the punk-enhanced Followers will doubtless raise eyebrows 'cause the pedigrees are all there. "We've got Don coming from Idle Rich, Jack from Collision Service, Bruce from Porno Sponges, Kraig was in Uber Alles, Iwas in Thinnly Sliced. We even had some punk rock tunes," noted Twining, now re-settled in the States after a 15-month stay in Amsterdam. "Europe's amazing. I think of it 10 times a day, but there's also something to be said for the United States after being abroad. It's fucked up, but it has its freedoms and tolerances, and I am an American."

One overseas highlight was seeing good friend Chick Graning's band Scarce opening for Hole; Spiritualized and Stereolab sets also got rave reviews from the former critic, whose influences on his vocalist's role in the Followers are expectedly diverse. "From Wire to the Sex Pistols, Dead Boys, Circle Jerks, early SST stuff. It goes from abrasive to melodic then back to abrasive." He laughed when asked to comment on the abuse and misuse which the term "punk" has endured over the past few years in particular. "Well, that's what the Followers are here to set straight."

Opening, fittingly enough, are Graning and drummer Chris Gorman, a duo joined in the studio last weekend by bassist Fred Abong, the highly-respected Newport multi-instrumentalist whose brief time as bassist for Throwing Muses followed stints in numerous South County and Newport bands. McKenna's Mother Jefferson just wrapped recording for their All The Money Records eight-song CD Evil Smokes with J.J. producing. They've taken the power-chord whirlwind to a higher level, though the live camp factor is increasing of late. Late spring release. Moravec and Sanders' current band Medicine Ball unearthed a roaring new gem in closing last Sunday's set, with both Evan Williams and Mark Stone manning keyboards, with the erstwhile bassist doing triple duty on vocals and tambourine. Crazy good.

Birthday greetings to new-born Samantha and Senator John O., celebrating his 90th. Happy St. Joseph's. They'll never clone a calzone.