Program-Paris Combo 2013-04-19
Transcription
Program-Paris Combo 2013-04-19
����������������������� �������������� ������������������������ �������� ��������������������������������������������� �������������������������������������� ��������������������������� �������������������� �������������������������� ��������������������������������������������������� ������������������������������������������������������� ��������������������������������������������� ������������������������ ���������������������������� ������������������������������������������������� ����������������������������� ����� ���������������� ��������������������������� ��������� ������������������������������� ������������������������������������������������ ���������������������������������������� ���������������������������������������� ������������������������������������� ���������� ��������������� ������������� ������������� ������ ��������� ������������� ������������������ �������������������������������� ������������������� ��������������� ����������� ����� �������� ����������� Welcome to VIVA! & Gala The 2012–13 season of concerts at the Cleveland Museum of Art showcases 16 outstanding performances from around the globe and the U.S. Among the many highlights of the season are programs that tie into exhibitions, the openings of the Renaissance and Islamic galleries, and the stunningly beautiful Ames Family Atrium. Tonight please join me in welcoming the inimitable Paris Combo back to Cleveland. Next month, we have our season finale with The Cleveland Orchestra in “California Masterworks”— two programs in Gartner Auditorium of works by California composers each preceded by a free talk by Dr. Henry Adams. Three films spotlighting two of the composers in these programs screen in late April. Following the Friday performance, experience MIX: Composition in the atrium—free with your California Masterworks concert ticket. Visit www.ClevelandArt.org/CaliforniaMasterworks for details. Paris Combo Friday, April 19, 2013 • 7:30 p.m. Gartner Auditorium, The Cleveland Museum of Art ENSEMBLE Belle du Berry – vocals David Lewis – trumpet, piano François Jeannin – drums, backing vocals Potzi – guitar Emmanuel Chabbey – double bass Thank you for being with us tonight. Massoud Saidpour Curator of Performing Arts and Music For legal reasons and physical safety of the artists and for the comfort of the audience, cameras and other recording devices are not permitted in the theater during the performance. PROGRAM Tonight’s program is presented without intermission. The program order to be announced from the stage. Comptez sur moi (Count on Me) B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin I Saw Stars Escapade Ce que j’aime, c’est le début (What I Like Is the Beginning) B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin Sous la lune (Under the Moon) Ubiquité (Ubiquity) B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato Lux B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin Je te vois partout (I See You Everywhere) Living Room B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato Attraction Señor B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato Chaque fois (Each Time) B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato Homeron B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin Je rêve encore (I Still Dream) Goodbye Pinocchio B. Grimault B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin Moi, mon âme et ma conscience (Me, My Soul and My Conscience) Fibre de verre (Fiberglass) B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato B. Grimault/ B. Grimault • M. Montier Dauriac Lettre à P (Letter to P) Program subject to change. B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato 4 Tout excusé (Totally Forgiven) 5 SELECT SONG TEXTS AND TRANSLATIONS Moi, c’que j’aime, c’est le début C’est pas lala, c’est pas la fin What I like is the beginning Not the end, the end. Ce que j’aime, c’est le début Lyrics: Bénédicte Grimault What I Like Is the Beginning REFRAIN CHORUS REFRAIN Prémices de l’hymen, naissance des sirènes J’ai banni l’hallali de mon beau paradis CHORUS Beginnings of the hymen, birth of the sirens I have banished the “Hallihi”* from my own paradise Lux Lyrics: Bénédicte Grimault Lux Au début, il y a eu le big bang Et puis l’inconnu, un peu de chaos, le ying et le yang Il n’y avait que toi, il n’y avait que moi Moi, j’étais Adam , toi, Eve ou bien vice et versa Entre toi et moi, tout a commencé par un très long baiser Oui, ça, on sait que tout a commencé Par un très grand éclat de joie In the beginning was the big-bang Then the unknown, a bit of chaos, the ying and the yang There was only you, there was only me I was Adam, you were Eve, or vice versa Between you and me, it all began with a long kiss Yes, that we know—that it all started with a big shout of joy. Je suis un papillon de nuit Je me colle à mes amis pour trouver trouver le bon faisceau de lumière qui colle à la peau I’m a moth I cling to my friends To get the the best rays of light The ones that stick to your skin Je brille Oh! regardez ... je brille Je grille! Oh! regardez ... je grille I’m shining! Oh! look…I’m shining! I’m burning! Oh! look…I’m burning! Moi, c’que j’aime, c’est le début C’est pas lala, c’est pas la fin What I like is the beginning Not the end, the end. REFRAIN CHORUS REFRAIN Je veux du Lux je ne suis pas robin des bois j’aime la lumière de Wood et qu’on me voit dans les bois jouer du oud, jouer du oud CHORUS I want Lux I’m not Robin Hood I love the black light of Wood I want to be seen in the woods Playing the oud, playing the oud Puis, peu de temps après, il y a eu le déluge Une grosse averse est tombée sur nos idées de démiurges il y a eu de l’eau dans le jazz et du jazz dans le ravin Mais comment se jouer du bonheur usé On est comme les petits lapins de la publicité On tape sur le tambour jusqu’à épuisement de l’amour Mais c’est trop dur pour que ça dure Then, a little bit later, there was a flood A big downpour rained on our god-like ideas We are in deep, and there’s smoke on the water But how do you get around used-up happiness? We’re like the little rabbits in the commercial We bang on the drum until love runs out. It’s too hard for it to last forever.. Je n’suis pas une lumière Ni luciole, ni coléoptère Je veux frotter mon derrière Contre un coin de réverbère I’m not very bright Neither glow-worm, nor coleoptera I just want to rub my backside In the light of a street-lamp Je brille Oh! regardez ... je brille Je grille! Oh! regardez ... je grille I’m shining! Oh! look…I’m shining! I’m burning! Oh! look…I’m burning! Même si je vois bien Que la lumière ne me vaut rien au teint Je crève d’un rêve né d’Eve et d’Adam Although I see clearly that The light does nothing for my complexion I’d die for a dream born of Adam and Eve REFRAIN CHORUS 6 * The cry to celebrate the kill in a hunt. 7 Goodbye Pinocchio Lyrics: Bénédicte Grimault Goodbye Pinocchio REFRAIN Un point sur l’horizon, en souvenir de toi Pointillés, suspension Et ton sourire narquois CHORUS A dot on the horizon, in memory of you A dotted line, a suspension point And your mocking smile Mon ciel s’est soudain senti dégagé un petit vent frais vient de se lever de se lever de se lever My sky has suddenly cleared A cool breeze has sprung up Sprung up Sprung up Oh, I would have happily thrown it all in, happily told you where to get off you and your laminated tuxedo and your slicked-back blow-dry but no, I cannot, (yes but no), very well dance without you Other times, with every step, each time I was drawn in: but with you, each time, with every step, each time I danced, it was not easily forgotten. Tu pensais pouvoir m’effrayer tu pensais pouvoir m’apitoyer m’apprivoiser m’emmurer ou m’amadouer You thought you could scare me You thought you could make me pity you Tame me Wall me in, soften me up REFRAIN CHORUS Petit à petit, je survie comme une douce couleuvre en appétit je survis, mon ami je survis à la vie Little by little, I’m surviving Like a hungry little grass-snake I’m surviving my friend I’m surviving this life Puis tu as posé tes mains sur ma taille et soudain, j’ai senti, comme à regret, mon dédain s’évaporer. C’est ta dégaine ridicule qui m’a touchée, je crois, et mon regard acidule n’a pas eu l’effet: “casses-toi!“ You put your hands on my waist and suddenly I felt my disdain evaporate almost with regret It’s your ridiculous look that touched me I think and my acid-like glance failed to have the “drop dead” effect! A la vie que tu voulais me faire mener me faire mener par le bout de ton nez j’y croyais plus trop j’y croyais plus, Pinocchio... This life you wanted me to lead Leading me on, by the end of your nose I didn’t believe in it anymore Not anymore, Pinocchio... Goodbye, Pinocchio Goodbye, Pinocchio REFRAIN CHORUS J’ai mes idées sur l’amour et tu ne colles pas au schéma Mais si j’enlace tes contours, j’oublie comment et pourquoi... I have my own ideas about love… and you don’t really fit in But if I embrace your form I forget about the whys and the wherefores Chaque fois Lyrics: Bénédicte Grimault Each Time Dans un dancing un soir, où j’étais par hasard, attirée par les lampions comme un vulgaire papillon. C’était là ton habitacle, tu t’y donnais en spectacle. J’étais là incognito et tu me fais ton numéro... In a dance-hall one evening, where I ended up by chance, Attracted like a vulgar little moth by the Chinese lanterns You were in your element, making a spectacle of yourself I was there incognito and you did your number on me... REFRAIN CHORUS Oh, j’aurais bien tout laissé tomber, je t’aurais bien envoyer valser toi et ton smoking laminé et ton brushing gominé mais non, je ne peux pas—oui, mais non—décemment danser sans toi Chaque fois, chaque pas , chaque fois j’ai marché, mais avec toi, Chaque fois, chaque pas , chaque fois j’ai dansé, ça s’oublie pas 8 9 Comptez sur moi Lyrics: Bénédicte Grimault Count on Me Si tu me jures, si tu m’assures d’un amour éternel Je ne suis pas sure que ça me rassure, ça risque même de me couper les ailes Pour la confiance compte pas sur moi La résistance compte pas sur moi Pour la prestance compte pas sur moi Pour la romance, alors là, tu peux compter sur... If you swear, if you pledge to me an eternal love I’m not sure that it will reassure me It may even clip my wings For confidence don’t count on me For endurance don’t count on me For presence don’t count on me But for romance, though, you can count on… Compter sur moi sur mes dix doigts compter sur le bout de mes doigts 1 2 3 Compter sur moi ta chanson la connaître sur le bout de mes doigts Count on me On my ten fingers Count on the tips of my fingers 1 2 3 Count on me To have your song At my fingertips Car tu m’inspires quand tu me fais rire avec tes blagues douteuses sur les chanteuses Tu me fais sourire quand tu veux me séduire, Ô toi mon preux chevalier de l’apocalypse heureuse Pour la confiance compte pas sur moi La résistance compte pas sur moi Pour la prestance compte pas sur moi Pour la romance, alors là, tu peux compter sur... Because you inspire me when you make me laugh with your dubious jokes about girl-singers You make me smile when you try to seduce me Oh my proud knight of the Apocalypse of Happiness For confidence don’t count on me For endurance don’t count on me For presence don’t count on me But for romance, though, you can count on… Compter sur moi Sur mes dix doigts Count on me On my ten fingers 10 Compter sur le bout de mes doigts 1 2 3 Compter sur moi ta chanson la connaître sur le bout de mes doigts Tu peux compter, compter sur moi, compter sur le bout de mes doigts... Count on the tips of my fingers 1 2 3 Count on me To have your song At my fingertips You can count on me, count on me, count on the tips of my fingers... Tout excusé Lyrics: Bénédicte Grimault Totally Forgiven C’était un arbre dans une cour était-il là avant que les murs ne l’entourent? C’est à lui que j’ai pensé quand je t’ai vu empêtré, étriqué dans ton costume de fidélité The tree in the courtyard— was it there before the walls surrounded it? It was that tree I thought of When I saw you hemmed in by your tight suit of faithfulness On a le droit d’avoir un jardin pour soi, secret où les autres n’entrent pas, c’est pas la peine d’en faire tout un plat non, pas pour moi We have the right to have a secret garden Where others cannot enter It’s not worth making a fuss about it No, not for me REFRAIN tu cherches des excuses tu m’auras par la ruse tu sais, d’être ce que tu es tu es tout excusé CHORUS you’re looking for excuses you’ll end up fooling me! you know, be who you are you are totally forgiven Une statue tendant son poing dans un square parisien, son élan à jamais pétrifié, j’y ai pensé quand je t’ai vu empêtré de regrets, d’alibis en papier mâché A statue with its fist raised In a Parisian square, forever frozen in its tracks I thought of it When I saw you entangled in your paper-mâché regrets and alibis On est né dans un jardin secret , On est plein de mystère, à jamais planqué tu sais, de ton jardin secret, j’ai j’ai pas la clef We are born in a secret garden We are full of mystery forever hidden You know that for your secret garden I don’t have the key REFRAIN CHORUS 11 Je te vois partout Lyrics: Bénédicte Grimault I See You Everywhere Translation: David Lewis Ca m’a pris sur les bancs de l’école A l’époque, c’était Colargol Et puis les rustines et la colle —mais là je m’égare un peu— Je n’étais pas une enfant de coeur qu’on arrache aux instants rêveurs d’un naturel bien éthéré... ...tu m’as vite envoûtée It all started back in school At first it was Winnie-the-Pooh and then tire-mending glue —but I’m digressing a little— I certainly wasn’t an angel Awakening from innocent daydreams Floating through life... …you soon bewitched me REFRAIN C’est bien plus fort que moi je te vois partout, sur tout même les yeux fermés C’est bien plus fort que moi je ne peux pas m’empêcher de fantasmer sur toi CHORUS I can’t control myself I see you everywhere, in everything Even with my eyes closed I can’t control myself I can’t stop fantasizing About you Je n’ai pas tout de suite pris la mesure de cette nouvelle conjoncture de cette étrange dictature —mais là je m’égare un peu— Ton image apparaissant partout même dans mes rêves les plus fous bien obligée de constater... ...tu m’as vite envoûtée I didn’t realize at all how serious This new situation, This new dictatorship was —but I’m digressing a little— Your image appearing everywhere Even in my craziest dreams I had to admit... …you soon bewitched me 12 REFRAIN CHORUS Dans la salle de bain, dans le cuisine, partout, sur tout, je t’imagine je te vois nu sous ton hermine —mais là je m’égare un peu— Ton visage m’obsède tant et plus qui j’étais, je ne le suis plus libères un peu de ma psyché... ...tu m’as trop envoûtée In the bathroom, in the kitchen, Everywhere I imagine you I see you naked under your ermine —but I’m digressing a little— Your face obsesses me so much I am no longer who I was before Free up a a bit of my psyche! …you bewitched me too much REFRAIN CHORUS dépixélisé, anamorphosé, en format HD je te vois J’ordonne mes envies en cadavre exquis: dans les bras d’un loup je te vois partout De-pixelated, anamorphic, in H-D format I see you I list my desires like a Cadavre Exquis*: in the arms of a wolf I see you everywhere * Word-game played by the French surrealists 13 ABOUT THE ARTISTS Paris Combo Four albums and a decade spent touring the globe playing to enthusiastic audiences from Sydney to San Francisco and Berlin to Beirut have enabled Paris Combo to create its own unique world, establishing itself as one of the most piquant, intriguing groups on the international music scene. Fronted by the mischievous vocals of chanteuse Belle du Berry, the combo has struck a positive chord with critics and audiences for their fun-loving mix of jazz, French pop, cabaret, gypsy, Latino and Middle Eastern rhythms. In the early ’90s, du Berry, Potzi, and François Jeannin first performed together as members of the offbeat retro revue Champêtres de Joie, playing acoustically in the historic Berry Zèbre cinema in Paris’ Belleville district. Together they collaborated with French choreographer Philippe Decouflé at the closing ceremony of the Winter Olympics in Albertville. Du Berry met Australian musician David Lewis in 1994 when both were performers at the inaugural Cabaret Sauvage revue (now a popular venue in Paris) and it was not long before he joined the trio. They were then joined by bassist Mano Razanajato, forming what was to become Paris Combo. From 1995–97, the group honed their unique style playing in cafés and on barges moored along the Seine. Du Berry, whose musical roots go back to post-punk bands, often cites influences such as Arletty, the French singeractress of the ’30s, but also the Surrealists and a panoply of more recent artists including the B-52’s. Potzi’s Django-influenced guitar often mixes with François’ ska or Latin grooves to 14 create a fascinating blend. Lewis, who had previously played with a wide variety of French bands including Manu Dibango and Arthur H, attributes the group’s approach to Paris’ cosmopolitan atmosphere. In 1997, Paris Combo released their eponymous first album on the now-historic indie label, Boucherie (Butchery), and began touring intensively in France. The band’s popularity may have coincided with a swing revival in the mid-1990s, but Paris Combo played a more varied set than the retro swing bands. Los Angeles Times critic Don Heckman declared, “The group’s music fits into the swing revival category occupied by such bands as the Squirrel Nut Zippers and Big Bad Voodoo Daddy, but their range of styles is far too eclectic to be bunched into a single category.” Most critics agreed, attributing to the group such wide-ranging characteristics as French cabaret, rumba, flamenco, Gypsy swing, cool jazz, African, Latin, and Middle Eastern styles. On the heels of the success of their debut CD, Paris Combo released Living Room in Europe in 1999 and in the United States the following year. One of the last Boucherie releases, the album was soon re-licensed to Universal in France where it was a gold record with 100,000 albums sold by the end of 2000. The group performed at the iconic Parisian venue l’Olympia to cap-off the year’s 120 concerts. This was followed by the release of Attraction in 2001, a live album in 2002, and extensive touring in the U.S., Europe, Asia and Australia. In late 2004, Paris Combo released Motifs produced by respected American sound engineer Oz Fritz. As a prelude to the CD’s U.S. release, the group performed symphonic arrangements of their set with 15 the Hollywood Bowl Orchestra. Anastasia Tsioulcas declared in Billboard that Motifs is “a required cocktail party soundtrack” emphasizing the mainstream appeal of the band, but Paris Combo still refused to be classified, nor did their mainstream appeal diminish their carefully crafted sound. Washington Post critic Mike Joyce wrote, “Engaging, clever and cutting by turns, it doesn’t take long for Motifs to prove once again that Paris Combo has carved out a truly distinctive niche for itself.” In 2010, after an extended sabbatical, the group starting writing and rehearsing again. Belle, Potzi, François, and David worked together for over a year composing and arranging new songs and re-discovering their own distinctive group sound, allowing Belle’s lyrics to explore the crazy extremes of love—from total obsession (“Je te vois partout”) to total forgiveness (“Tout excuse”). At the end of 2011, joined by newcomer Emmanuel Chabbey on bass, Paris Combo made an exclusive comeback appearance at the Hollywood Bowl and began performing their new songs as well as favorites such as “Living Room” and “Señor” in France, Europe, and the Middle East. At the same time, they began to record at Labomatic Studios in Paris with star producers Dominique Blanc-Francard and Bénédicte Schmitt (Gainsbourg, Françoise Hardy, Camille). Before the album was finished, rough mixes of songs had started making their way onto radio playlists and compilations in Europe and Australia. CREDITS Philippe Moja – Front of House sound engineer Paris Combo appears by arrangement with: Eye for Talent 1139 San Carlos Ave - Ste 310 San Carlos, CA 94070 650-595-2274 www.eyefortalent.com Students “Pay What You Can” at the door for any VIVA! & Gala Performing Arts Series concert. Starting 90 minutes prior to the performance, show your valid student ID when purchasing tickets in person and pay any whole-dollar amount. Subject to availability. UPCOMING PERFORMANCES Music in the Galleries Wednesdays, May 1, 6:00 p.m. Our 2012–13 season of “first Wednesday” gallery concerts concludes with an hour-long performance by young artists from the Cleveland Institute of Music. Free. The quintet is back with their fifth studio recording simply titled 5, which has now been released in the US. www.pariscombo.com 16 17 ����������������������� UPCOMING PERFORMANCES & EVENTS ����������������������� California Masterworks The Cleveland Orchestra’s performances in the museum in May 2011 ������������������������������������������������������ were ������������������������������������������������������ a milestone event and, according to the Plain Dealer, among the year’s “high notes” in classical music. This groundbreaking collaboration ������������������������������������������������� continues, again following a masterworks theme, this time turning ���������������������������������������������������������� attention to the west coast of the United States. Classical music was ������������������������������������������������������� inexorably bumped off its European axis with the emergence of �������������������������������� California composers including Lou Harrison, Terry Riley, and Henry Cowell, among many others. After all, California, which faces away from ���������������������������������������������������� the influential European cities, welcomed to its shores the cultures of ���������������������������������������������������� Southeast Asia and Latin America. Non-European percussion traditions, ������������������������������������������������������ tuning systems, and compositional architectures found their way into music���������������������������������������������������������� composed for orchestra and the concert stage, creating a classical canon������������������������������������������������������ of a different sort—refreshing and exciting. Tickets $29–$44 (each program) ���������������������������������������������������� Program 1 ������������������������������������������������������ Wednesday, May 1, 7:30 p.m. ������������������������������������������������������ �������������������������� Henry����������������������������� Cowell: Sinfonietta Dane�������������������������������������������������������� Rudhyar: Out of the Darkness (World premiere) Lou Harrison: Suite for Violin with String Orchestra, featuring Steve Rose ����������������������������������������������������������� Free ������������������������������������������ pre-concert talk at 6:00 p.m. by Henry Adams: “The Quest for Nirvana and the Birth of Modern Art” ��������������������������������������������������������� Program 2 ��������������������������������������������������������� Friday, May 3, 7:30 p.m. ���������������������������������������������������� ��������������������������������������������������������� James Tenney: Clang John ��������������������������������������������������������� Adams: Shaker Loops Terry�������������������������������������������������������� Riley: The Sands, featuring the Calder Quartet Free �������������������������������������������������������� pre-concert talk at 6:00 p.m. by Henry Adams: ����������������������������������������������������� “The Funkiness of California Art in the 20th Century” Films Tom Welsh, the museum’s director of City Stages, will introduce and � discuss all three films. Each program $9; CMA members, seniors 65 & over, and students $7; or one CMA Film Series voucher. Music���������������� with Balls & Crossroads Friday, April 26, 7:00. ������������������������������������������ Lou Harrison: A World of Music Sunday, April 28, 1:30. Visit www.clevelandart.org/vivagala for more information about �������������������������������������������������������������� performances, including audio/video samples and program notes. �������������������������������������������������������������� Inca Son �������� ������������������������ Friday, October 26, 7:30 Naseer Shamma & Ensemble ������������������������ ���������������������� Friday, March 15, 7:30 Prazak Quartet �������������� ��������������������������� Wednesday, October 31, 7:30 Ana Moura: Fado of Portugal ��������������������������� ���������������������� Friday, March 22, 7:30 Jordi Savall & Hespèrion XXI ���������������������������� Wednesday, November 7, 7:30 ��������������������������� Oliver Mtukudzi ��������������� IN THE ATRIUM ������������� ��������������������� Friday, April 5, 9:00 James Feddeck, solo organ ������������������������� Sunday, January 13, 2:30 ������������������������ Kronos Quartet �������������� Friday, January 18, 7:30 ������������������������ King Lear: ����������� Contemporary Legend Theatre ���������������������������� of Taiwan ��������� ������������������������ Friday, January 25, 7:30 Chanticleer ����������� IN THE ATRIUM ������������� ��������������������������� Wednesday, January 30, 9:00 Flamenco Vivo/Carlota Santana ����������������������������� ������������������������ Friday, February 8, 7:30 The Idan Raichel Project ������������������������ Saturday, February 16, 7:30 ��������������������������� Victoire �������� Friday, February 22, 7:30 ������������������������� The Art of Naqqali: �������������������� Master Storytellers of Iran ��������������������������� Wednesday & Friday, March 6 & 8, 7:30 ������������������������������������� ������������������������������������� Saturday & Sunday, March 9 & 10, 2:30 Paris Combo ����������� ���������������������� Friday, April 19, 7:30 The Cleveland Orchestra ����������������������� ���������������������� California Masterworks ����������������������������������� Wednesday & Friday, May 1 & 3, 7:30