Suite for Flute and Jazz Piano Trio by Claude Bolling “Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a “crossover” composition, synthesizing Baroque and swing era jazz elements, by the jazz pianist and composer Claude Bolling. The composition, originally written in 1973, is a suite of seven movements, written for a classical flute, and a jazz piano trio (piano, string bass, and drums).
Helen Kim, Liz Sellers and AJ Rios performed the first movement – “Baroque and Blue”. It follows a large scale ABA form — beginning in G major, modulating to the parallel minor at 1:54, and returning to G at 4:36.
The Pender Concert Supporting Ukraine on April 23 featured Liz Sellers on piano, Brian on harp, and local professional musicians, including woodwind quintet, drums, organ, guitar, flute, penny whistle, singing and violin.
Concert repertoire included: Harp arrangements by Debussy, Piano trio of Jazz/Baroque, Flute Concertino by Chaminade, Woodwind Quintet with music of Duke Ellington, The Widor Toccata Organ Symphony Movement V and an Irish session!
There was no charge for this concert but there was a free will offering taken to support Ukraine through Advance #982450, UMCOR International Disaster Response and Recovery. This fund provides direct assistance to those in Ukraine as well as assistance to Ukrainians fleeing to neighboring countries.
One hundred percent of all Advance contributions go to the designated cause. (The independent charity watchdog, “Charity Watch,” gives UMCOR an “A+” ranking, and includes the UM organization on a highly selective list of charities it recommends when considering how to support the Ukrainian people. Read more)
The United Methodist community in Ukraine, though quite small, is actively engaged in assisting neighbors in need. Global Ministries is in touch with the church’s leadership as well as with church leaders in countries welcoming those who are fleeing from violence in Ukraine.
Click this link and choose UMCOR to send direct aid. In the memo line, put Advance #982450, UMCOR International Disaster Response and Recovery.
“Don’t Get Around Much Anymore” is a jazz standard written by composer Duke Ellington. The song was originally entitled “Never No Lament” and was first recorded by Duke Ellington and his orchestra on May 4, 1940.
The Morpheus Chamber Players are Alisha Coleman (clarinet, Gwen Jones (flute), Jeff Kahan (oboe), Wendy Chinn (French horn) and Lisa Eckstein (bassoon). AJ Rios sat in as guest percussionist.
The Pender Concert Supporting Ukraine on April 23 featured Liz Sellers on piano, Brian on harp, and local professional musicians, including woodwind quintet, drums, organ, guitar, flute, penny whistle, singing and violin.
Concert repertoire included: Harp arrangements by Debussy, Piano trio of Jazz/Baroque, Flute Concertino by Chaminade, Woodwind Quintet with music of Duke Ellington, The Widor Toccata Organ Symphony Movement V and an Irish session!
There was no charge for this concert but there was a free will offering taken to support Ukraine through Advance #982450, UMCOR International Disaster Response and Recovery. This fund provides direct assistance to those in Ukraine as well as assistance to Ukrainians fleeing to neighboring countries.
One hundred percent of all Advance contributions go to the designated cause. (The independent charity watchdog, “Charity Watch,” gives UMCOR an “A+” ranking, and includes the UM organization on a highly selective list of charities it recommends when considering how to support the Ukrainian people. Read more)
The United Methodist community in Ukraine, though quite small, is actively engaged in assisting neighbors in need. Global Ministries is in touch with the church’s leadership as well as with church leaders in countries welcoming those who are fleeing from violence in Ukraine.
Click this link and choose UMCOR to send direct aid. In the memo line, put Advance #982450, UMCOR International Disaster Response and Recovery.
The Bossa Merengova movement was performed by Liz Sellers (piano), Helen Kim (flute) and AJ Rios (percussion).
From the composer: “Sonata Latino was written in October 1994 for Kirsten Spratt and Elizabeth Mucha. They asked for a piece in South American style so I wrote this sonata incorporating various Latin rhythms. It is not intended to be a purist representation of the idiom, but to sound how a contemporary latin/jazz improvising duo might play at a gig. I hoped to capture something of the personality of each country in the music. Although I have no Latin roots, I’ve loved the music for years and have been lucky enough to tour South America a few times with my Saxophone Quartet Itchy Fingers.”
Bossa Merengova. “This borrows from the more recent Bossa Nova hybrid rhythms from Brazil. I treated this movement more as a jazz player might do with “improvised solo” sections for both flute and piano. The piano writing is looser and more harmonically jazz-oriented, but in places moves into double – octave arpeggio licks evoking the Merengue style popular in Venezuela and Columbia. A coda section then returns to a salsa ‘turn-around’ riff reminiscent of the Cuban – influenced first movement.”
The Pender Concert Supporting Ukraine on April 23 featured Liz Sellers on piano, Brian on harp, and local professional musicians, including woodwind quintet, drums, organ, guitar, flute, penny whistle, singing and violin.
Concert repertoire included: Harp arrangements by Debussy, Piano trio of Jazz/Baroque, Flute Concertino by Chaminade, Woodwind Quintet with music of Duke Ellington, The Widor Toccata Organ Symphony Movement V and an Irish session!
There was no charge for this concert but there was a free will offering taken to support Ukraine through Advance #982450, UMCOR International Disaster Response and Recovery. This fund provides direct assistance to those in Ukraine as well as assistance to Ukrainians fleeing to neighboring countries.
One hundred percent of all Advance contributions go to the designated cause. (The independent charity watchdog, “Charity Watch,” gives UMCOR an “A+” ranking, and includes the UM organization on a highly selective list of charities it recommends when considering how to support the Ukrainian people. Read more)
The United Methodist community in Ukraine, though quite small, is actively engaged in assisting neighbors in need. Global Ministries is in touch with the church’s leadership as well as with church leaders in countries welcoming those who are fleeing from violence in Ukraine.
Click this link and choose UMCOR to send direct aid. In the memo line, put Advance #982450, UMCOR International Disaster Response and Recovery.
“As the Deer” by Martin Nystrom,
The Faith We Sing, No. 2025
The Pender UMC Traditional Service Middle Hymn “As the Deer” on Sunday September 18, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and AJ Rios and sung the Pender Sanctuary Choir and congregation.
“As the deer pants for the water brooks,
So pants my soul for You, O God” (Psalm 42:1, NKJV)*
On his website, http://martynystrom.com/, the composer introduces himself in self-effacing terms:
“I am a married father of two sons and live in the Seattle area. My degree is in music education and I have taught music in a wide variety of settings. I have written over 120 songs that have been released by publishers of Christian praise and worship music. My best known song is the worship chorus, ‘As the Deer.’” He notes that, “I seem to write songs when I am not purposefully trying to write one.”
“As the deer,” written in 1981, is one of the most popular songs in the contemporary Christian musical (CCM) genre written in the latter twentieth century. Martin J. Nystrom (b. 1956) is a native of Seattle, Washington. After graduating from Oral Roberts University, Tulsa, Oklahoma (BME, 1979), he served as musical evangelist with Christ for the Nations, Dallas, Texas [www.cfni.org] and produced five praise and worship albums for Hosanna! Music, Mobile, Alabama.
Lindsay Terry, in his book The Sacrifice of Praise: The Stories Behind the Greatest Praise and Worship Songs of All Time(2002), describes the circumstances surrounding the creation of this song:
“Marty was a schoolteacher in Seattle, and since he had the summer off, he decided to go to the summer term of Christ for the Nations Institute in Dallas, Texas. Little did he know what was about to happen to him, especially with all that he would be exposed to and the worship emphasis of the school. . .
He had graduated from Oral Roberts University and, frankly, was a little overwhelmed in ministry. He had been involved in many things at the school, not the least of which was the television ministry of ORU. All of his studies combined with many other activities had caused stress to take its toll on Marty’s spiritual life. . . .
Marty’s roommate at CFNI was a vibrant Christian who challenged Marty to go on a fast, thinking it would help him recover his joy. Marty took up the challenge, and on the nineteenth day of the fast, he found himself sitting at the piano in a room of the school, trying to write a song. He was simply playing chord progressions when he noticed a Bible on the music stand of the piano, open to Psalm 42. His eyes fell on the first verse of that chapter. After reading the verse he began to sing its message, right off the page. He wrote the first verse and the chorus of a song, practically straight through. The entire song was completed in a matter of minutes.”
Though Mr. Nystrom had not intended to perform the song publically, he shared it with a friend at Christ for the Nations before returning to Seattle. His friend introduced it to the others at the Institute, and it became a favorite. Contrary to his website, the composer appears to have written closer to 250 songs. He travels extensively in the United States and Asia, participating in conferences and retreats.
After paraphrasing the first verse of Psalm 42, the song reflects on this passage, continuing in the first person perspective of the psalm:
You alone are my heart’s desire
and I long to worship you.
The second section draws upon the familiar biblical images of “strength and shield,” concluding with the sentence cited above.
Most of Mr. Nystrom’s songs are composed as a single stanza. The compilers of the Canadian United Church hymnal Voices United (1995) asked Lydia Pederson to write two additional stanzas to paraphrase the remainder of the psalm. Pedersen is former music director at Royal York Road United Church in Toronto, and an active member of the Hymn Society in the United States and Canada. An additional attempt at two stanzas appears in the Covenant Hymnal: A Worshipbook(1996).
The editors of the two hymnals that requested additional stanzas noted that the original song felt incomplete when viewed in the context of the entire psalm. Selections of Psalm 42 follow: “My soul thirsteth for God, for the living God: when shall I come and appear before God? My tears have been my meat day and night, while they continually say unto me, Where is thy God? (verses 2, 3, KJV) . . .
“I will say unto God my rock, Why hast thou forgotten me? Why go I mourning because of the oppression of the enemy? As with a sword in my bones, mine enemies reproach me; while they say daily unto me, Where is thy God? Why art thou cast down, O my soul? And why art thou disquieted within me? Hope thou in God: for I shall yet praise him, who is the health of my countenance, and my God” (verses 9, 10, 11, KJV).
On the one hand, the effectiveness of the original song is found in its simplicity; the singer can internalize and memorize the song, offering this sung prayer directly to God. On the other hand, the poignant questions of the remainder of the psalm echo the questions of many worshipers in their lives. Singing additional stanzas, however, changes the experience from a simple prayer to God to the experience similar to singing a multi-stanza hymn. One solution is to retain Mr. Nystrom’s original stanza and insert it between spoken sections of the psalm as a refrain.
Regardless of the approach to incorporating the song into worship, one cannot deny the effectiveness of “As the deer” as sung prayer in myriad settings around the world. Mr. Nystrom attended a conference in Korea in the 1990s that began with 100,000 Korean Christians singing his song – a dramatic witness of its power.
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