"Julius Eastman's Maverick Music Lives On"
Davóne Tines has taken the stage to celebrate the life and art of Julius Eastman, a groundbreaking composer who bridged New York's uptown and downtown arts scenes in the 1970s and '80s. The Barbican concert showcased the breadth of Eastman's eclectic output, from electric guitar-driven performances that defied genre conventions to delicate piano pieces with a nostalgic charm.
One highlight was "Touch Him When", reimagined for electric guitar, which exploded into a head-banging, doom-metal fueled performance by Jiji, its abrasive riffs propelling Tines through the auditorium like a fist in a velvet glove. In stark contrast, Conor Hanick's nuanced playing of "Piano 2" - a tripartite work with an early-20th-century feel - provided a soothing respite from the chaos.
Tines also led in the performance of Eastman's powerful tribute to Joan d'Arc, "The Holy Presence". Here, he intoned a poignant prelude, channeling the medieval warrior's defiant spirit. The original improvisation allowed cellist Seth Parker Woods to trade lines with prerecorded accompaniment, but adding more cellos to the mix would have undoubtedly amplified their emotional impact.
Eastman was known for reworking his music to accommodate whatever forces were available. At this concert, the "Gay Guerilla" got a thrilling two-piano arrangement, complete with choreography and dancers, which transformed into a sensual pas de deux, where Khalid Dunton and José Lapaz-Rodriguez lost themselves in an increasingly blurred landscape of sex, combat, and death.
In Eastman's maverick world, art and performance were intertwined. His music remains a powerful call to arms, challenging listeners to confront the boundaries between sleep and death, sex and combat.
Davóne Tines has taken the stage to celebrate the life and art of Julius Eastman, a groundbreaking composer who bridged New York's uptown and downtown arts scenes in the 1970s and '80s. The Barbican concert showcased the breadth of Eastman's eclectic output, from electric guitar-driven performances that defied genre conventions to delicate piano pieces with a nostalgic charm.
One highlight was "Touch Him When", reimagined for electric guitar, which exploded into a head-banging, doom-metal fueled performance by Jiji, its abrasive riffs propelling Tines through the auditorium like a fist in a velvet glove. In stark contrast, Conor Hanick's nuanced playing of "Piano 2" - a tripartite work with an early-20th-century feel - provided a soothing respite from the chaos.
Tines also led in the performance of Eastman's powerful tribute to Joan d'Arc, "The Holy Presence". Here, he intoned a poignant prelude, channeling the medieval warrior's defiant spirit. The original improvisation allowed cellist Seth Parker Woods to trade lines with prerecorded accompaniment, but adding more cellos to the mix would have undoubtedly amplified their emotional impact.
Eastman was known for reworking his music to accommodate whatever forces were available. At this concert, the "Gay Guerilla" got a thrilling two-piano arrangement, complete with choreography and dancers, which transformed into a sensual pas de deux, where Khalid Dunton and José Lapaz-Rodriguez lost themselves in an increasingly blurred landscape of sex, combat, and death.
In Eastman's maverick world, art and performance were intertwined. His music remains a powerful call to arms, challenging listeners to confront the boundaries between sleep and death, sex and combat.
I mean, have you seen that video of Jiji playing "Touch Him When" live? It's like, woah! The way they reworked Eastman's piece into a head-banging metal performance is insane 
... but at the same time, I kinda miss the original improvisation with just cello and pre-recorded accompaniment. You know, it was so emotive and quiet, you could feel the pain in Seth Parker Woods' playing 
. And what's up with Eastman being all about experimentation? Like, he took whatever instruments were available and made them work for him 
... it's like he was saying, "Hey, art is everywhere, just listen" 
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. The energy of that concert must've been electric! I mean, from those intense doom-metal riffs to the more mellow piano pieces, it's clear that Eastman was all about pushing boundaries and taking risks with his music. And I think what really stood out for me was how he used performance as a way to convey his message - like with "The Holy Presence", where Tines' voice just transported you to this otherworldly place 
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! It's amazing how his music can still get people moving like nothing's changed since the 70s & 80s. The way Davóne Tines brought "Touch Him When" back to life was insane, and that Conor Hanick played on "Piano 2"? So soothing after all that chaos 
. But what I really loved was how Eastman's music just seems to adapt to whatever the performers have got - like a punk rock spirit of experimentation 
! The way Davóne Tines reimagined Julius Eastman's work is insane, you know? Like, I've been listening to Eastman's music for years and I never knew it could be like that 
! And the performances... electric guitar-driven, doom-metal fueled, tripartite works... I mean, what's not to love?! 
The way he blended genres and pushed boundaries is truly inspiring. And can we talk about the choreography? That sensual pas de deux was next level 
! Eastman's music really is a call to arms, man - it's like it's alive and kicking... or should I say, fighting for life 
But at the same time, Conor Hanick's piano playing in "Piano 2" was just so calm and soothing - like a breath of fresh air. 
What really gets me about Eastman's music is how it blends all these different styles and emotions together. It's like he's saying, hey, let's not stick to one genre or mood - let's get crazy and make something new! 
The way Davóne Tines just lost himself in those performances was like watching a wild animal break free from its cage. And Jiji's electric guitar playing?! Mind blown 
I don't know how he did it, but he managed to make me feel all these emotions without sayin' a word. And the way the cellos just wailed and moaned like they were cryin' out for help... argh! It gave me the shivers 
and i think that's part of why his legacy continues to be so relevant today. his music is like a call to arms, urging us to question the boundaries between our everyday lives and this wild, raw energy 
jiji's electric guitar performance in "touch him when" was insane 
i'm so glad julius eastman's music is still getting the recognition it deserves... his legacy lives on 
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i was literally headbanging in my seat 
anyway just wanted to share my thoughts on this amazing concert 
. And the way Davóne Tines performed it was insane - I mean, that "Touch Him When" piece went from zero to 60 in seconds, got me jumpin' up and down in my seat 
. Anyway, I'm definitely gonna be exploring more of his work now, anyone got any recs?