A wide spectrum of guitarists have responded to the siren call of the $100 Guitar Project. No curatorial bar was set, no stylistic walls erected. It has been a community exercise, each musician encouraged to come to the project without preconceived ideas and to simply explore whatever the guitar suggests to them.
Many ingredients go into Judith Shatin’s music. While it is informed by a deep sense of musical history, it is just as much a by-product of her profound desire to search for new sounds. It is also deeply inspired by history itself, but not as an artifact. Rather it is something that is malleable and very much alive, something that we in the present can continue to engage with to better understand ourselves.
When Zoë Keating takes the stage, her charismatic presence—a perfect balance of focused performer and welcoming MC—exerts a magnetic attraction. She is a composer who, with a chair, her cello, a bit of software, and some amplification, conjures an entire orchestra of sound out of the timbres of this one instrument.
The musical life of composer David Froom is steeped in a sense of community. As a self-described extrovert who derives energy and inspiration from the company of other composers and musicians, he has developed a strong circle of performers and music-making opportunities in the Washington, D.C. and Baltimore area as well as in his St. Mary’s City, Maryland home.
All of Corey Dargel’s output could potentially appeal to an extremely broad audience, even his most outré experiments in empathy. At the same time, his seemingly simple early songs are filled with embedded complexities and reward with focused listening time and again. Like many other difficult to categorize music creators of his generation, Dargel consistently defies classification.