The Doug Fir, saturated in blue lighting and the low rumble of strings and synthesizers seemed as if it had been submerged in the depths of the ocean – cool and soothing. The bulbous cellos groaned in unison like a pod of whales, bouncing their song off the faux-wooden-log interior and into the enraptured audience.
There were five other artists on the bill aside from the Portland Cello Project. Fears of a very long night (with one band taking the stage after another, with the necessary setup time) were quashed as PacificUV took the stage with PCP. Several cellos (and cellists) remained, adding a dynamic string section to Athens, Georgia quartet. This proved prophetic – PCP would play a song or two, and would then be joined by a guest artist for several songs. All the time the lineup of cellists on stage would change, giving audience members the impression that PCP had a never-ending supply of cellists backstage. In fact their MySpace lists twenty-two folks who have been part of the collaborative. PacificUV added an ambient chill to the already subdued classical sound.
Next in the long line of collaborators was Sophe Lux, a drastic departure from the grounded beginnings of the show. Attired in coked-out Christmas pageantry - between a reindeer, ice queen, and viking all in white - their lead vocalist provided operatic stage poses mixed with over the top operatic vocals. Ironically, the initial Sophe Lux/PCP connection (they became involved through their viola player, and then the classical revolution chamber pop circuit) was not present for the show.
I had a Kate Bush flashback watching the vocalists dramatic delivery of the song “Target Market” with lines like “this is going to be my day, and no one is going to take it away from me” punctuated by aria style exclamatory notes that kept in step with the manic Tori Amos front the band presented. With accordion and cellos Sophe Lux’s set might best be described as gypsy-phonic.
The next two compositions were entirely instrumental. First, a watermark symphony-style rendition that, while lacking in sheer funk, was technically enjoyable. Not to get overly stuffy, they followed with an instrumental cover of that classic rock song Bon Jovi’s “Wanted Dead or Alive”. It took a minute to catch the hair-band maneuver they were pulling, but there were lots of smirks and it did have a “it’s cute to be bad-ass” flavor.
Next up in the variety show lineup was the band Point Juncture, WA (from Portland, OR). The two songs they played - “It Slows Down” and “Once Tasted, Ever Wanted” - had a unrequited yearning quality and with strong lead female vocals and well harmonized male back-up.
After a brief intermission, we started again with a group that spawned from the largesse of the cello project; the Rostropobitches, whose name, obviously, is an homage to the long dead Russian cellist of great renown. Nicely done ladies. Their opening track was a hymnal sounding tune with nicely synchronized vocals and strings. The second track was a little weak-sauce, however, as their rendition of “I Put a Spell on You” didn’t really have the fire necessary, with the lead sounding self-conscious in her delivery.
Justin Ringle, front-man for Horsefeathers, did a set that ran “Mother’s Sick,” “Father,” and “Rude to Rile”. His reedy Bonnie “Prince” Billy/Sam Beam stylings benefited from the full melancholy of PCP accompaniment. More delicate than any of the previous offerings, the crowd was treated to some succinct, poetic lyrics: “sadness comes in different shades,” and “10,000 lbs of hope on your shoulders” are a few examples. He’s got one thing right: 10,000 lbs of anything on my back would be depressing. The natural beauty of recognizing woe came through in satisfyingly tragic portions.
The stage then filled with ten or so cello players and, after the MC let out a rather convincing Shortround imitation, screaming “Dr. Jones”, they launched into the Indiana Jones theme. It was as cheesy as I imagine the ride at Universal Studios would be if I had any inclination to go on it. Which I don’t.
The final cello-added act was the Blue Cranes, a local jazz band that started the set with a Sufjan Stevens cover of “Seven Swans”, which was amazing in its implementation. Starting with an initial upbeat walking tempo rhythm that became a moving wave of cannonading sound, it was easily the most dynamic piece of the evening. They followed with a self-composed track “Returning to Portland,” and finished with “Inner Dialogue” which was an interactive bit where stage members and the audience were called on for shout-outs on what became a dialogue on where to have brunch the following Sunday. But I can’t remember the exact location.
After Gideon Freudmann’s original composition encore, the musical variety show came to an end. A more flexible group would be hard to find. From contemporary classical pieces to 80’s hair covers to movie themes to answering many bands’ question, “what would happen if we added cello?” (and really, what band doesn’t ask that question?), this evening had a bit of everything.
