Although much of Leonard Cohen’s poems and music oeuvre is engraved in my cellular memory, I decided that a major refreshment was in order. I have the Live in London Concert, 2008 DVD. That will be the subject of this post.

Most of Cohen’s concerts run 2-3 hours; this concert goes 2 ½ hours and enriches any viewer’s soul enough to regret that it doesn’t go on longer. The band for this tour plays as one; each musician is masterful individually; the sum total, led by our hero (the mighty and humble Leonard) is entrancing.

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The band comprises:

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Roscoe Beck (Musical Director, Bass, & Background Vocals)


Neil Larsen (Keyboard, notably the Hammond B3)


Bob Metzger (Guitar, Pedal Steel Guitar & Vocal)


Javier Mas (Bandurria, Laud, Archilaud, & 12-String Guitar)


Rafael Bernardo Gayol (Drums & Percussion)


Dino Soldo (Keyboard, Saxophone, Wind Instruments & Vocal)


Sharon Robinson (Vocals)

   
The Webb Sisters - Charley & Hattie (Vocals)

Synesthesia is cross-sensing in an artful way not usual to most people. A few examples might be seeing music as color; tasting food as geometric shapes; touching objects that might have a particular sound; or colors representing a day of the week or a number. Synesthetes are people so-gifted. They/We also can sense the regular way as well. Most times the experience is involuntary, generally starts in childhood, and is quite pleasant; it is possible for a small percentage of that population to experience sensory overload. There is even an American Synesthesia Association. Estimates vary from one in twenty-five to one in two thousand experiencing synesthesia. An interesting introduction to the subject is put forth by Marcia Smilac. A very thus-engaged person is Elizabeth Sulser from Zurich. Another charming video demonstration/explanation of the subject can be seen here. Doctor Richard Cytowic (neurologist) thinks that likely all people are hardwired for cross-sensing, the ability frequently runs in families, but can have a precipitating event later in life as I did.

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My own experience started when I was in my late 30s. I watched an Indian singer, Pandit Pran Nath at the Dia Art Foundation in NYC when it had space on Crosby Street in SOHO.

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Out of his mouth came the most glorious colored ribbons of sound. I had been meditating for decades, had many “alternative” experiences, but that was an absolutely stunning, delightful, brand-new event for me.

I just discovered that one of my favorite classical pianists, Hélène Grimaud, is a synesthete.

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I also discovered only the other day that my girlfriend, Nancy, also has synesthesia sensing. We have known each other for 20 years but never discussed it until now. I told her about Hélène Grimaud and my experience at Dia whereupon she told me that since she was a child she experiences days of the week as colors. It is all wonderful; that means, of course, filled with wonder.

I wish that everyone experienced synesthesia - it is a fundamentally exquisite sensation.

If anybody knows and understands how musical rhythms intersect, join, help, and ofttimes control human physical, mental, and emotional rhythms, it is Mickey Hart. A longtime percussionist for the Grateful Dead, he has studied the effects of music, and especially percussion music in cultures around the world. His enthusiasm for the-now-famous Global Drum Project has brought delight to millions of people.

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A short take on Mickey’s approach can be seen here. A longer clip is here. When you feel like you need a quick pick-me-up, put on some headphones, tune into these clips, crank up the volume, and float your way back to fine condition. Better yet, buy the CD. Disclaimer: I have no financial interest in the Global Drum Project, but I have every other kind of interest in it.

Mickey Hart produced The Planet Drum Album in 1991, which became an instant classic overview of percussion music from around the world.

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For many, it was the first experience hearing the extraordinary Indian tabla artist, Zakir Hussain. Hussain was celebrated in the US as early as 1975 when the superb English guitarist, John McLaughlin produced the Shakti Album. Hussain joined McLaughlin on guitar; L. Shankar on violin; Ramnad Ragavan on mridangam; and T. H. Vinayakaram on ghatam and mridangam. The album was released in 1976 and had 3 cuts.

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To see the young Zakir Hussain pushing his beloved tablas to glorious heights have a look here to see him play with the acclaimed santoor musician, Shivkumar Sharma. In the early 1990s, I was lucky enough to see Hussain play twice in the S.F. Bay Area in very small venues with an audience of about 40-60 people. It was a truly enchanting experience. When he plays with other musicians of any culture, they say that he climbs (politely) into their head and plays complementary to what they are playing and can anticipate what they will play.

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How marvelous that Coco Chanel and Igor Stravinsky seemed to have a deep, abiding friendship and an ardent love affair. But, did they? I just saw the 2009 film by Jan Kounen, aptly titled, Coco & Igor. In the film, these two characters seemed to have a wooden wall between them and their feelings no matter how many times they got it on. Nobody really knows if this liaison actually happened, how long it may have lasted, or how intense it might have been. Stravinsky never mentioned it, but Coco told her biographer Paul Morand, about it in 1946 and 30 years later that conversation was published. The fiction movie was based on the fiction novel Coco and Igor published in 2002, and so on... Anyway, the lovely actress, Anna Mouglalis, playing Coco was a treat to watch.

No question however is the exquisite creative focus and energy that Coco and Igor each brought to the world in real time. Coco created spectacularly beautiful clothing that freed women from the restrictive garments they wore at that time. Her designs are still elegant 80 years later. Music generally evolves in some discernible linear pattern. Stravinsky changed all that with his avant-garde dissonance that drove people to riot at the premiere performance of “The Rites of Spring” (Le sacre du printemps) in 1913 Paris. What an superb bunch of collaborators on that presentation: Stravinsky (music), Nijinsky (choreography), Roerich (set design and costumes), and Diaghilev (general impresario).