Of all the impressive and varied music I tuned into last week, arguably the most memorable moment came with a pleasant and very public surprise. Setting: “Plaza Palooza,” the long-awaited grand opening of the 106-year-old Central Library’s new plaza and revamped interior. A block party was held, with a large portion of the citizens joining in the celebratory fervor, alternating between abundant booths, jaw-dropping food (from Mony’s and Elubia’s Kitchen), and historical exhibits. music, dance and speech.

Suddenly came the cleansing and exciting sound of Bach for unaccompanied violin, beautifully played by a talented young local violinist as part of the slot given to Santa Barbara’s beloved emcee CAMA. Sofia Malvinni. Time stood still and business as usual was happily disrupted and transformed by this rare encounter between Bach and the public. More please.

When He Met Mali Campbell

On the eve of the holiday last week, Campbell Hall was completely and predictably abuzz with good energy. This is the result of musical and emotional spirits. Habib Koite He shoots his group. Malian music mogul Koité, now 66, lit up the “world music” scene three decades ago with his infectiously choppy guitar style and heart-warming, griot-based vocal power. He was one of the figures who helped develop a musical focus on the core values ​​of West African music.

And with the current all-star band of master balafon player (and builder) Aly Keїta, kora player Lamine Cissokho, and percussionist Mama Kone, Koité graciously directed a Campbell Hall show celebrating MandéSila, the way of the Mandingo empire and West Africa. culture. From an admittedly more ethnocentric perspective, the show reminded us once again – in real time – that West African music, far from being an exotic or esoteric slice of musicology, is the root source of American Gospel, blues, R&B, and many other genres. from pop music. Critical points of distinction include the flexibility of musical structures (theirs are not regular, formulaic songs) and the hypnotic vibrations of a deep rhythmic current.

In other words, Koité’s Malian fair-weather machine was as well oiled and ready for action as expected.

Harvesting the Celtic and Folk Orchestral Sound

As next season approaches the ten-year milestone, ambitious Santa Barbara Community Orchestra it has set its agenda, built a hungry audience, and has a willingness to explore new twists and themes as it moves into the future. Founder, arranger, situationist, multi-instrumentalist and fine singer Adam Phillips Last weekend he prepared a delicious buffet for the “Autumn Harvest” program; He pours doses of his fascination with Celtic and folkloric Spanish with the slow, gently brewed “Autumn Leaves” and Neil Young’s masterpiece “Harvest Moon.”

Other highlights of the program, which I caught in the friendly surroundings of Trinity Episcopal Church (after stopping at St. Mark’s in the Valley and the Presidio Chapel on Friday and Saturday), included Brian Mann’s magnificent accordion solo on “Remember Me.” from the magical movie coconut. (Mann is a favored accordionist in various musical and showbiz worlds. coconut so is the score encantoand will perform in special Arlington encanto Singing Together show on Thursday, November 14).

In the “small group” category, ace violinist/violinist Devyn Quarles and guitarist Josh Jenkins began cooking in Celtic style, and cellist Jacqueline Greenshields took on a challenging solo arrangement of “Down by the Salley Gardens,” mixing the melody with shifting sounds. double stops and other gymnastic wrapping schemes. In the highlight of the second set, guest vocalist Kathleen Sieck stepped forward to sparklingly elevate the tune with the hardest-to-pronounce title (unless you’re trendy in Welsh): “Bothan Àirigh am Braigh Raithneach.” For those of us outside As far as is known the English title is “A Sheiling in the Braes of Rannoch”.

Whatever the source or language, you learn something at FOSB shows, in addition to benefiting from a warm bath of musical goodness.

TO DO:

There’s some justly acclaimed music in the next installment of the always intriguing chamber music series at the Santa Barbara Museum of Art’s Mary Craig Auditorium. Cuarteto Latinoamericano, On Sunday afternoon, November 10, at 14:00, the quartet, known for their adventurous instincts in programming, presents “Homage to the Americas” with music by Brazilian great Héitor Villa-Lobos, George Gershwin, Argentinian titan Astor Piazzolla, Samuel Barber. the famous “Adagio for Strings” and Dvorak’s “American” Quartet.

Distinguished American violinist Itzhak Perlman He makes one of his periodic visits to Santa Barbara with a special ensemble of famous classical icons at the UCSB Arts & Lectures concert in Granada this evening (November 7). He will be accompanied by two pianists, Emanuel Ax and Jean-Yves Thibaudet, and the historic Juilliard String Quartet (currently its most experienced player is former Santa Barbaran Ronald Copes). Leclair, Mozart and Chausson fill out the programme.

We were lucky to catch the great American singer-songwriter and brilliant man John Hiatt I was going to shows at the old Oscar’s nightclub in the city many times, collaborating with Lyle Lovett and elsewhere. However, hearing Hiatt in the intimate setting of the Lobero Theatre, where he took the stage on Tuesday, November 12, is considered something special and something that will mark the calendars. Hoosier turns Los Angeleno into Nashviller (cool neighborhood) who heads to the country side for 2001’s catchy album Leftover EmotionsSwap riffs and have gentle musical conversation alongside dobro legend Jerry Douglas.

In other Lobero news, Santa Barbara Opera It kicks off the compact but action-packed 2004-05 season at Leoncavallo’s home ground on Friday night and Sunday afternoon. Pagliacci (see story Here). Move on to the next CAMA concert for a hearty blast of Baroque music. Philharmonic Baroque Orchestraprogram Venetian Splendor: Vivaldi’s Four Seasons and Gondola SongsTuesday, November 12 (see story) Here).