Laurie Anderson

Last year, I attended Laurie Anderson's performance of, "Homeland". I enjoyed, and had never experienced before, a musical event where the body and score of the performance were arranged/pre-set, yet the events that effect the lyrics (in this case political), were updated in a very improvisational way during the performance. It took awhile to realize that all her inferences to our political environment were completely up-to-date, yet I recognized the musical structure beneath them, as the pieces would reprise; resurfacing again and again.

The structure of composition, no matter how simple, is a recurring theme in my work. As I teach or simply demonstrate a spontaneous improvisational piece, I'm aware of the piece’s beginning, middle and end. Through the study and shear enjoyment of classical music, my mind and body have been programmed to realize a piece through form. Laurie's free-flowing form was a great insight into how open a piece could remain, even as it is being performed...around the world. A strong endorsement for composed-improvisation.

I believe classical voice technique provides a healthy methodology and basic core values to providing long-term vocal health maintenance. Some of the techniques have to do with correct breathing, enunciation and musical phrasing. All my prior learning has informed this new music and vocal improvisation.

Laurie is a violinist, keyboard player and vocalist and in my book it doesn’t get any better than that. I was attracted to the whole electric/acoustic sound; finding a sweet connection between the more traditional, classical musical instrumentation and the avant-garde of her more experimental tunes. Though a dreamy combo, it was Laurie's humor that took me off guard. Humor in performance is something that seems to follow or precede me; never pre-planned, so I’m always surprised. To experience a performance chock full of unexpected and intelligent faux pas and witticism was really wonderful.