On Wednesday night pianist Vicki Ray and visual artist Carole Kim combine forces at REDCAT for two huge new works for piano, electronics, and projections. The evening includes the world premiere of Ben Phelps’s exponentially expanding Sometimes I feel like my time ain’t long, based on the Alan Lomax recording of the eponymous tune. Also featured is Daniel Lentz’s Yellowstone-inspired River of 1000 Streams, which was named a top recording pick of 2017 by Alex Ross in The New Yorker.
Vicki has been a major player in the LA scene for years as a pianist, improviser, composer, and teacher. With all she does I’m glad she had a few minutes to answer some questions about this show. Tickets and full details are available at redcat.org/event/vicki-ray-and-carole-kim-rivers-time.
Rivers of Time focuses on two “monumental” new works. How do you approach large scale pieces, as both performer and concert programmer?
In terms of programming it really depends on the piece(s). Usually with one long work I’ll put something contrasting on the other half of the concert like miniatures or just feature the single work itself. But this concert is different. Each piece is almost exactly a half hour. They seemed like perfect book ends. And then there is the thematic linkage between the pieces in terms of their focus on time. So it seemed a natural pairing. As a performer my approach has to vary depending on the demands of the piece. Ben’s piece is very rigorous – it is extremely mercurial and there are many fast shifts of tempo and mood. It’s technically virtuosic. A lot of the challenge is about knowing what’s going to happen next. Daniel’s piece is equally demanding but in a completely different way – it uses an almost constant tremolo which can be really exhausting for the body. So I had to work up to complete run-throughs of it…sort of like training for a marathon. With this piece it’s about staying relaxed (well, when isn’t it?) and keeping the long arch of the piece always in the forefront of my mind.
What really excites me about this Wednesday night’s concert at REDCAT is the opportunity to share Ben Phelps’ new work Sometimes I Feel Like My Time Ain’t Long. It has been a total pleasure to learn this piece, or I should say continue learning this work. Like all great pieces it has layers to uncover and explore and everytime I sit down to work on it I find something new. Technically and musically it’s incredibly satisfying. The way Ben exponentially expands the piano part in correspondence with the time-stretched folk tune is ingenious. But rather than be some kind of purely cerebral exercise the totality of the piece is quite mystical and haunting. I feel very honored to get to give the premiere and I hope to play it many more times.
Could you discuss your collaboration with Carol for this project?
I started hearing about Carole’s work years ago when she was at CalArts. And then shortly after that she did some work with my brother, Scot, up in Montana. He was raving about her work and I saw some clips from the evening that blew me away. Finally here in Los Angeles I had several opportunities to see her work, most notably at an Open Gate Concert with some stellar improvisers. What impressed me was how she is able to join the musical conversation by weaving visuals into the texture without dominating it. It’s incredibly unique and thoughtful. Elegant. For this concert she’ll be projecting onto scrims that envelop the piano.
Your career as a soloist, collaborative pianist, improviser, composer, teacher is, to put it mildly, wildly diverse. How do your various musical practices inform each other? Is balance a challenge, or are they more like different aspects of the same work and interests?
I don’t really see it “various musical practices.” When I was a kid I played pop music, I sang in choirs, I acted in plays, I wrote little tunes, I improvised, and I learned classical pieces. They weren’t all squared away in separate boxes. So I’ve always been that sort of player even though there was a long stretch during my college years where a lot of the improvising and composing got put on a back burner. I feel much more creatively energized when I can work both as a creator and a re-creator.
You began in Los Angeles as a graduate student at USC. You’re now the head of keyboard studies at Cal Arts. To some extent, I view these schools as existing on completely opposite ends of the musical spectrum, at least aesthetically. Could you comment a bit on this dichotomy in the LA scene, if it even is one?
I can’t really comment on USC. I graduated from there a million years ago and I’m sure it’s changed since then. But what I do know without a doubt is that I wouldn’t be the artist I am if it weren’t for my years at CalArts. The place has had an enormous impact on me. My colleagues and my students are so gifted and interesting that I often feel like a permanent student rather than faculty. I’m so grateful to be a part of it. It continues to stretch and challenge me every day.
How has the new music scene in Los Angeles changed over your career thus far? I know we’re quite proud of ourselves in recent years, with good reason, and wonder if that has always been the case or if this is the renaissance it seems to be.
It’s definitely a great city to be in right now if you’re into new music! There’s so much going on and yes, much more than when I first arrived in the 80’s. Back in the 80’s and 90’s there was the EAR Unit and Xtet. The Green Umbrella concerts were always great. And the Monday Evening Concerts were there too of course! And there was always something interesting going on at the Schoenberg Institute at USC. Also there used to be those fantastic soirees at Betty Freeman’s house…wow…those were incredible evenings. But in terms of the number of groups playing and the diversity of musics being offered right now – it’s fantastic. I just wish we had a few more good, small to mid-size venues that were dedicated to new music (AND had a good piano…!)
What was your favorite concert you’ve attended or played on in the past year?
Oh that’s too hard! But the first thing that comes to mind is hearing Andrew McIntosh’s piece Shasta on the Green Umbrella. Just gorgeous. [editor: I too have that piece near the top of my list.]
What’s next for you after this show?
Next up is Feldman’s For John Cage with violinist Tom Chiu and dancers Oguri and Roxanne Steinberg. I’m really looking forward to it! February 26 on Piano Spheres.
Anything else you’d like to add?
I just want to thank YOU and all the folks at New Classic LA for what you do!!
Tickets for Rivers of Time are available at redcat.org/event/vicki-ray-and-carole-kim-rivers-time.