On Stage: Attack-ing the Pittsburgh Symphony

February 7, 2012

Family-oriented entertainment takes many forms, from Disney to Stravinsky. “Stravinsky?” you might say.” Ruler of rhythmic diversity? Terrorist with time signatures? Sultan of musical sarcasm?”

But Attack Theatre has never let musical complexities get in the way. This is a company that relishes the live aspect of it all, feeling that juicy, sink-your-teeth-into-it music, whatever the genre, rock, jazz, Baroque or classical, can go a long way towards elevating the dance experience.

Perhaps that was the reason that the Attackers once again paired with the Pittsburgh Symphony Orchestra. It’s always been fruitful for both organizations, even though the PSO is more traditionally entrenched and Attack Theatre is an open artistic book. But the mutual respect was always there.

Along the way, they’ve engaged each other in a community project at the New Hazlett Theater and various Holiday Pops concerts. But one of their most successful interactions was Stravinsky’s Histoire du Soldat (The Soldier’s Tale), first performed in 2005 at Heinz Hall with conductor/violinist Pinchas Zukerman. The stage director then was Opera Theater of Pittsburgh’s Jonathan Eaton.

Jonathan was on board once more last week, this time updating the text to include the likes of “subprime mortgages” and “FDIC-insured” in a performance at Pittsburgh Opera’s facilities in the Strip District. The event at the Pittsburgh Opera facility in the Strip District was a first look at an upcoming tour to select high schools in the area, followed by performances with the Erie and Asheville symphony orchestras.

The audience was limited to 100 lucky viewers, but the creativity was boundless. It began with recorded music, the Rolling Stones’ Sympathy for the Devil, a clever way to put the crowd on alert with a rockin’ prelude to a wonderfully astute morality play.

For the record, the Stravinsky work focused on a soldier (Dane Toney) who fell prey to the Devil (played by a trio of women — Liz Chang, Michele de la Reza and Ashley Williams, who did double duty as the Princess). The dramatic lines were led by narrator Peter Kope, but shared by all with clear articulation and a measured pace. (Certainly vocal coach Claire Syler was a wise investment.)

In the end, the soldier didn’t get what he wanted, the moral being that the grass is not always greener. Or in the Biblical context, “What shall it profit a man if he gain the whole world and lose his own soul?”

With such a rich music and dance landscape, the production used few props, with a table (one of Attack’s favorite devices) and a couple of chairs being most prominent and Maribeth Maxa’s costumes giving everything a colorful dash of whimsy. It was all in keeping with the original intent — keeping things simple and light and portable.

Peter’s direction drove home the point without hammering it. (There isn’t an arts organization that I’ve come across that maintains such artistic integrity in an educational milieu.) This is the way art should be, able to give us a smart perspective on a composer like Stravinsky, who inches closer to the middle ground every time I hear his music. It’s nice to know how far listeners have come in accepting him (and how much he is copied in the music world, which could account for something).

Educational opportunity? Family entertainment? Yes, but I saw some real music sophisticates who were mesmerized by the hour-long performance.

That’s saying something.

Just for the record, the terrific PSO ensemble consisted of Dennis O’Boyle, violin; John Moore, bass; Ronald Samuels, clarinet; David Sogg, bassoon; Neal Berntsen, trumpet; Peter Sullivan, trombone and Jeremy Branson, percussion. And photos are by Rebecca Himberger, whose job title is a mouthful: Associate Director, Marketing & Corporate Partnerships.

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On Stage: Attack-ing Pitt

January 2, 2012

It’s a phenomenon alright. More and more companies are encouraging their dancers to participate in the creative act of choreography. The Kelly-Strayhorn promotes independent choreographers from Pittsburgh’s dancerly ranks. Just this fall Point Park University presented student choreography and Bodiography its annual Multiplicity program at the Kelly-Strayhorn Theater. At Bodiography the dancers thought long and hard about their conceptual direction (a good thing), plus artistic director Maria Caruso performed a solo and long-time member Lauren Suflita Skrabalak (it was so good to see her again!) unveiled a new interest in choreography.

But Attack Theatre has come up with a new wrinkle. The company has joined forces  (via a grant) with the University of Pittsburgh’s graduate program in music composition. The organizations presented an informal concert at the Pittsburgh Opera space in the Strip District that had a surprisingly finished look about it.

For the record, there were seven composers, many of them playing in the evening’s live accompaniment, another plus. For the record, they were Matt Aelmore, Aaron Brooks, Chris Capizzi, Bomi Jang, Jonghee Kang, Charles Lwanga and Sookyung Sui. Those composers were paired (not necessarily in this order) with choreographers Jeff Davis, Michele de la Reza, Peter Kope (twice), Michael Walsh, Ashley Williams and the dynamic duo Renee Smith and Jamie Murphy.

The variety was terrific, from de la Reza’s delicious partnering in “Playback” (Brooks) to the gentle jazz of “Scenes,” where Williams captured a rainy afternoon (Capizzi). Davis had a whimsical touch in “Gifts From the Sea” (Kang) and Kope and Aelmore combined for a nonsensical solo for Toney, probably the audience favorite.

Shades of Merce Cunningham, Attack took some existing phrases and repurposed them  to the new music to lighten the load on the dancers (a good thing because Toney was in four of the seven works and the Attack dancers had just completed Holiday Unwrapped and PO’S Pearl Fishers). Hope it becomes an annual event, and, signaled by the inclusion of choreographers Murphy, Smith and Walsh and dancers Kaitlin Dann, Shana Simmons and Jessica Marino, grows to include more from the dance community.

 

 

 

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On Stage: 2011 Top Ten in Dance

December 24, 2011

Photo by Antoine Tempe

Dance is really taking shape in Pittsburgh. The growth that we’ve seen nationally and locally shows that the youngest of the art forms should be taken more seriously. I mean, I still think that dance is generally placed at the bottom of the totem pole because it appeals to a younger generation, which frankly does not generate as much financial support. Hopefully this will begin to change as its audience base grows. In the meantime, if you haven’t read it — the Pittsburgh Post-Gazette’s Top Ten List. Coming soon — 2011 MVP’s in Dance.

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Off Stage: Donna Goyak on Attack

November 1, 2011

We always saw the friendly face of Attack Theatre through projects from Bag Attack Boogaloo to Japanese composer Somei Satoh. It was that scintillating blend of fierce and fun-tabulous, quirky and quick-witted that attracted new audiences and sustained them over the past 16 years. But as freewheeling as this company seemed on the face of things, there was an assortment of very smart choices going on behind the scenes to keep Attack afloat.

And it all began at the Warhol.

During his off-hours at Dance Alloy, Peter Kope was working as an art handler at the Andy Warhol Museum, preparing for its opening exhibition in 1994. So was Donna Goyak.

They made up half of a four-person team, a project that was “a lot of work, but a fun year,” according to Donna. That phrase would be a harbinger of the future. While waiting for a shipment, the pair would “sit and talk and plan and think” about Peter’s dream — to formulate a site-specific dance company of their own.

As a result, Donna became “fast friends” with Peter and Michele, his partner and Alloy member who was getting a Masters of Science in Developmental Movement/Motor Learning at the University of Pittsburgh.

When the Warhol opened, Peter and Michele were back at the Alloy, while Donna went to the Pittsburgh Sports and Festival Federation, a new organization that was designed to create special events Downtown under Mayor Sophie Masloff’s administration.

With Jaime Todd, she co-founded First Night Pittsburgh and called Peter and Michele to help with the programming. Donna recalls that they were actually going to print with the program when she told them, “C’mon guys, I need a name.”

And Attack Theatre was born.

Maybe it was because they planned that Bag Attack Boogaloo and something called Kazoo Theatre, but the name seemed to symbolize their embracing way with the arts. The friends went on to do a lot of projects. The 50th anniversary of the end of World War II. Dollar Bank Jeopardy. The Persian Gulf War Welcome Home Parade.

just had to ask, “Here’s the situation — what can you do with this?” And off they went. She notes, “They’re very creative in that way.” So she relied on them for each subsequent First Night and more.

Then Donna moved to the state of Washington, but never lost touch. She brought Peter and Michele out to lecture in the schools and do First Night Tacoma performances. Throughout that time, she remained “a friend and an advisor of sorts.”

Donna was one of the stakeholders when Peter and Michele decide to go to non-profit status in 2004. It was a question they had been asking for a year.

“It was the right thing to do, analyzing the kind of work they were doing and the kind of attitude they had,” she explains. “Just about every dollar they earned went back into their authentic and deep commitment to community engagement and arts education. By their very nature, they fit all the criteria that makes it a good non-profit, what a non-profit should be for the benefit of the community. For all of those reasons, it was the right decision to make.”

Attack moved from 937 Liberty Avenue to Penn Avenue in Garfield. In the meantime, Donna had been making a living as an “intentional interim executive,” working with organizations that were in transitions or crises for a defined period of time.

One day Peter and Michele called and asked what she was doing. Actually Donna had just concluded with an organization in Cleveland. Coincidentally Attack’s general manager had just left. So Donna came in and did an analysis of where the company was. She recognized that what they were suffering from was “a crisis of opportunity” and assessed that it would take a number of years to capitalize on that opportunity.

Donna didn’t want to be an interim anymore. After being the “Mary Poppins of non-profits,” just flitting around, she wanted to be closer to Pittsburgh and her family. So she said, “Let’s do this.”

She came on board as general director (or “director general,” as she is fond of calling herself.) It seemed like she had always been there.

“I’m farsighted — I look further down the road and work creatively at absolving any potential problems looming on the horizon,” Donna says, fittingly content with this organization. “We’re very good at making course corrections and we proudly ended every year in the black. So we’ve been able to manage the ebbs and flows of the economy — we seize opportunities when we have them and change plans when it doesn’t wind up the way we had predicted.”

“There’s a skill in being able to sustain a company,” she continues. “Be light on your feet.”

The dance allusion is totally appropriate because people are constantly surprised at how small the company administration is, given its large footprint on the Pittsburgh arts and education scene. Marketing department? Accounts Payable? Fundraising? Donna and Rebecca Himberger, associate director marketing & corporate partnerships,  just pass the phone back and forth.

Attack has also truly remained on the attack in other ways.They’ve added two part-time positions — finance and development associate Jennifer Macasek and operations coordinator Sean Holsing, who they share with Pittsburgh Opera. And new dancer Simon Thomas-Train joined the company.

“It went from Peter and Michele working out of their kitchen to  now sharing this beautiful facility with the Pittsburgh Opera,” Donna says happily. “No utilities, no shoveling snow, no fixing toilets. So we’ve come a long way.”

Work and play often mix in this small, tight-knit arts organization. “I’m never miserable,” Donna admits. “But I’m often overworked.”

And she probably wouldn’t want it any other way.

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On Stage: This Is What’s Next

October 5, 2011

Photos by Rebecca Himberger

It’s a given that no two performances are alike and dance, in particular, embraces that concept wholeheartedly. But Attack Theater has gone above and beyond that idea in its latest project, “What?.”

I wrote about the creative process (“What Is What”) in the Pittsburgh Post-Gazette, where each of the two open rehearsals that I attended were markedly different. And while I know that the Attackers love to tweak things through their signature workaholic mode, I was surprised to find an email from managing artistic director Michele de la Reza the following week that the piece had “changed dramatically” from opening night Friday to Saturday.

What?

Being almost as much a workaholic as the Attackers, I was compelled to find out how much. So I headed back to the company’s rehearsal studios in the Strip District the following Thursday to find out.

While I like to think I am open-minded, I haven’t been one to really change my opinion that much after a performance. But what if the performance itself has changed?

Well, it did.

Previously I had a sense of love and death, with a marked emphasis on the latter. Upon my return, there was a newfound stress on interwoven relationships. It morphed from an episodic series of “deathly” events (a hanging, Hangman) with an underlying whimsy (the “William Tell” segment, where dancers “shot” a chalkboard apple from Dane Toney’s head) to a dramatic, much more serious approach to the work.

What the…

So there was a purpose to Liz Chang’s opening death scene now and a more defined connection to Simon Thomas-Train. He prominently carried a letter from her, an important piece of connective tissue. But he also had a dalliance with Ashley Williams, who was friends with Michele de la Reza, who was in an unhappy relationship with chalkmaster Dane.

The “William Tell” romp had become somewhat of a curve ball, because this version had dark shadows…ah! It had turned into a combination of film/dance noir (think about Attack favorite, “Typeset”) and clever wordplay bordering on Woody Allen.

“This is What” now had a better balance among the Attack elements. Attack can never deny its comedic leanings and it shouldn’t. But pure dance segments were finely tuned and the “Tic Tac Toe” part (hugs and kisses?), which was set to Baroque music, was particularly  lovely. But with the dramatic thread thickened, much like a plot in itself, the production, well, hung together in a much more meaningful way.

So the bottom line — which was better? There was a charm about all the different versions, but the latest edition was easily the most sophisticated. But I hear that a few more odds and ends have been altered for the extended run Oct. 6 (where master Attack cellist Dave Eggar will be in the audience) and 7, and it might be worth an encore visit.

Stay tuned..

 

 

 

 

 

 

 

 

 

 

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On Stage: In the Spirit of Orpheus

June 10, 2011

I ascended into the underworld, transfixed by a petrified forest of marble obelisks stabbing the sky. Strangely enough, there were boy scouts guiding the way.

Actually this underworld was located in Allegheny Cemetery in Lawrenceville. I was there to see Orpheus guide his love, Euridice, out of a poetic hell in Opera Theater of Pittsburgh’s masterful collaboration with Attack Theatre, Ricky Ian Gordon’s “Euridice & Orpheus.”

So yes, I left the continuous bustle of Butler street and, after receiving my ticket, was immersed in the historic grandeur of this Pittsburgh landmark, full of mausoleums, grave markers, those sky-scraping obelisks and a canopy of ancient trees.

You do have to drive up a hill and find a parking place beside a tranquil lake, director Jonathan Eaton’s exquisite setting for his interpretation of Mr. Gordon’s song cycle.

A fairly large crowd had gathered round, despite dire storm warnings, and the performance turned into a perfect way to experience the close of day.

But first there was a prelude, Franz Schubert’s “Shepherd on a Rock,” where the clarinetist, John Culver, actually stood on a rock outcropping, giving the piece a whole new perspective. Across the water stood soprano Leah Dyer, and on the far shore was keyboardist Robert Frankenberry.

That made for a musical situation that was both intimate but aurally challenging, given the performers distance apart from each other. Yet they had a wonderful sense freedom  in this jewel of a chamber music work, steeped in the pastoral nature that made it a wonderful fit for this occasion.

Schubert’s “Shepherd” was organically connected to “Euridice & Orpheus” by the sense of longing and a wonderful sense of melodic line. Of course, Mr. Gordon’s work is better known as “Orpheus & Euridice,” but the title was altered, with permission of the composer, because OTP had presented the Gluck original earlier in the season.

This production was an intensely personal interpretation inspired by Mr. Gordon’s life experience with a partner who was dying of AIDS. He had been commissioned by clarinetist Todd Palmer and altered, not so much the story of Orpheus’ love for Euridice, but the emphasis. There was more of a life together before the heroine died of a virus. Still Orpheus followed her to the underworld to rescue her, but was bound by rules that he was not to gaze upon her face. He was unable to comply and lost her forever. The production won New York’s OBIE award in 2006.

Actually there was only one voice, that of Laura Knoop Very, who emoted the story virtually in its entirety. The role of Orpheus’ music was shared by clarinetists Ricky Williams and Mr. Culver, although I didn’t quite get the gist of that decision. They were joined by a string quartet and Mr. Frankenberry, who also conducted.

Attack Theatre dancers Dane Toney (Orpheus), Liz Chang (Euridice) and Ashley Williams (Spirit) fleshed out the story.

This particular piece has been staged in recital and in a swimming pool. I can’t imagine that there would be a better spot than this for the classic Greek myth. The characters magically appeared from behind tombstones or bushes and disappeared behind a natural dip in the landscape (Euridices’ death was particularly compelling).

It was all about staging — not necessarily dance or music as individual components — and in this respect, it was complete. Attack Theatre’s Peter Kope and Michele de la Reza were unusually restrained with the movement, keeping it attuned to the composer’s intent, but incorporating Grecian sculpture and yes the “spirit” of the Allegheny.

There were a few niggling details — much of the story took place on the far side of the lake and there were a few acoustic problems and one fire misfire on opening night. But there were so many more of the mystical variety.

How Ms. Williams flitted around the lake and casually leaned against a tombstone for a time. How the clarinetists physically engaged in the story. The attentiveness of the musicians at large. And how the surroundings became a part of the artistic fabric — ducks who, well, ducked into an adjacent pond during Mr. Williams’ entrance, another pair of feathered friends who seemed to provide a counterpoint to the story in the main lake, singing cemetery birds, a distant train.

This was an evening to reflect, enjoy and embrace art in an uncommonly artistic setting.   Take the time to visit.

See Listings for more information.

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Dance Beat: Yolanda, DC, Luke, Salsita!

May 18, 2011

A PIONEER. Yolanda Marino recently passed away. A longtime supporter of the arts, most of the information in her obituary dealt with her work at Pittsburgh Ballet Theatre. But I knew Yolanda as the first executive director of the Pittsburgh Dance Council. I can still recall her worrying about attracting Pittsburgh audiences to the fledgling organization. At one point early on, the Martha Graham company was appearing at Heinz Hall for the second time. One performance was sold out, the other half full. Yolanda fretted over that, but no less than Martha reassured her. The company only sold half a house the first time, Martha pointed out, so this time the audiences had tripled in size. Thanks for your efforts, Yolanda, in jump starting dance in Pittsburgh!

DANCING CLASSROOMS. The big moment has arrived, when Pittsburgh Public Schools will compete in their first ever finale at Soldiers and Sailors Auditorium this Saturday (10 a.m. – noon, free admission). And I just got news that the National Endowment for the Arts has awarded sponsor Mercy Behavioral Health a grant of $24,000 to expand the program even more next year. Enjoy some photos by Archie Carpenter from the most recent semifinals at Allerdice High School.

LUKE MURPHY. Luke, a graduate of Point Park University, has participated in all three editions of newMoves Contemporary Dance Festival. This year he flew in from New York, where he has been working with Martha Clarke, Punchdrunk Theatre on its critically-acclaimed “Sleep No More” some projects in his homeland of Ireland. But in talking with Luke at the Grey Box Theatre prior to his performance, he had some extra news, that he will presenting work at the cutting edge Lamama Moves Festival this spring in New York.

SALSITA! Attack Theatre’s Michele de la Reza gives us the skinny on “Salsita!,” a benefit for the La Escuelita Arcoiris school in Squirrel Hill. They’re bringing in Noel Quinatana’s acclaimed salsa band from Cleveland. Add to that handmade tapas, artisan drinks, a salsa cook-off, the Loco Photo Booth, a silent auction and, of course, salsa lessons for all of you Hines Ward fans! Sounds like fun — with an Attack Theatre touch at Pittsburgh Opera, 2425 Liberty Ave. in the Strip District, 7 p.m. to 1 a.m. Tickets: $35 (online), $45 at the door, $75 VIP. www.salsitapgh.com. or 412-421-4787.

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On Stage: Attack-ing the Tango

March 29, 2011

Catch a promising new view of the tango from East Liberty. Attack Theatre’s Michele de la Reza and Dane Toney will play a prominent part in Quantum Theatre’s “Maria de Buenos Aires,” set to begin its run on Friday at the YMCA. Music, video, the dance — read how it all will come together in the Pittsburgh Post-Gazette.

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Dance Beat: Tome, Roberto, Alloy, Attack

February 17, 2011

STRO! An update on Pittsburgher Tome Cousin, who often sets Susan Strohman’s “Contact” around the world. On Feb. 28, he will be participating in a star-studded salute to the award-winning choreographer, working with Boyd Gaines and the cast of “Contact.” Matthew Broderick and Nathan Lane host with an array of Broadway stars, including Karen Ziemba, Veanne Cox, Craig Bierko and others. Set for the Millenium Broadway Hotel, it’s surprising to see tickets coming in at $75, $125 and a “limited number” at $300. Below you’ll find Tome in a green shirt and brown pants with Boyd and Deborah Yates on the “Tonight!” show.

 

 

CHECKING IN. Former Pittsburgh Ballet Theatre ballet master Roberto Munoz was in town recently holding auditions for the Saratoga Springs Dance Intensive that he runs with wife Melinda Roy, former principal dancer with New York City Ballet. He was thrilled that he and Melinda were in demand at several local schools to teach during their stay. Teachers at SSDI will include Sean Lavery, assistant to the Ballet Master in Chief, NYCB; Jock Soto, faculty, School of American Ballet;  and NYCB principals Yvonne Bouree, Ashley Bouder, Maria Kowrowski and Daniel Ulbricht. A strong Pittsburgh connection, besides Roberto, will feature Dana Arey (Pennsylvania Ballet principal, PBT ballet master), Stephen Hanna (NYCB principal, Billy Elliot), Simon Ball (Pittsburgh native, Boston Ballet, Houston Ballet) and PBT artistic director emeritus Patricia Wilde. The program runs June 20-July17. For more information, click on www.ssdiballet.com.

SUMMER FUN. Speaking of summer programs, the Jones Summer Dance Intensive has announced auditions at Dance Alloy Theater studios in Friendship on Mar. 20 from noon-2 p.m. and 3-5 p.m. Sixty students will be selected for the two week, pre-professional all-scholarship program, which will run Aug. 8-21. Students 15-25 may participate and must have a $20 audition fee. For more information and to register, call 412-363-4321.

ON THE MOVE. Attack Theatre may have finished up “Show #58,” but the workaholic  dance group subsequently took part of its “Show” on the road. They showed up at Dave Eggar’s Music on the Edge concert in “Trapped,” with music by Japanese composer Somei Satoh and subsequently traveled to New York for an encore over St. Valentine’s Day weekend at St. Mark’s Chamber Music Series. When did Dave and Chuck Palmer have time for the Grammies?

 

 

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On Stage: Bach Attack

January 19, 2011

Photo by Dana Casto

It was breakdown Bach to my ears recently at Attack Theatre‘s rehearsal space. I was suddenly listening to the last movement of Bach’s Double Violin Concerto, delivered by Pittsburgh native and guest musician Jonathan Moser on first violin in the title and Attack music director Dave Eggar on the less-expected cello and difficult second violin part, with Tom Pirozzi supplying a rock bass and Chuck Palmer in and out on drums. Keeping in line with the band’s philosophy, the music was presented with a fresh approach, where they came together and split apart, allowing snatches of the original to peak through periodically or to disappear in favor of a percussive interlude.

The Bach will be part of “Beginnings,” a world premiere featured on Attack’s newest program in celebration of its 15th anniversary this weekend at the New Hazlett Theatre. (See Listings.) “We knew we wanted to repeat some work, but we knew we didn’t want to do a traditional restrospective,” said Michele de la Reza, founding director with husband Peter Kope, as she sat cross-legged on a sofa near the coffee bar.

Instead the Attack members identified thematic threads for the program, offhandedly titled “Show #58″ (and still quite an achievement over 15 years). The first half will be connected to technology, often a part of the Attack experience with live feed video and slide show inputs.

It will start with “R.A.M.,” one of the group’s more recent works and designed for a family-friendly audience. But the original was created to tour and this time the Attackers wanted the opportunity to “up the values of the piece to sculpt the eye through lighting, [plus] upgrade the set and rechoreograph some things.”

If “R.A.M.” will use the latest technology, it will be followed by the pre-computer “Typeset,” a ’40′s film-noir of a piece from 1996. After all, the typewriter was the “technology” for many years, anchored by the tell-tale tick-tacking sound of the keys. But the real connection between the two works lies elsewhere, according to Michele, noting that  ”it’s still about documenting an idea, where the writer takes kernels of that idea and puts it down on paper.”

Just like I’m putting her ideas down on this CrossCurrent “paper.”

Photo by Matthew Kleinrock

But on to Act 2, based on the notion of time — past, present and future. “We’re thinking so much how we devour the present, which is the sum of the past,” Michele offered. Speaking of that, “Trapped,” with ethereal music by internationally renowned Japanese composer Somei Satoh, focuses on the past. “These characters are “trapped” emotionally and psychologically in their own personal history,” she said. “They cannot get past their past — they’re haunted. But even though the subject is so inward, the actual [artistic] exploration was about the future for us. Somei Satoh’s music sent us in a forward direction aesthetically and choreographically.”

Which led her to the premiere of the night, “Beginning,.” where the dancers looked at all the beginnings of ideas. They were instructed to write “two lines of a book you never wrote.” Since each dancer turned in six suggestions, there was “a whole slew” of beginnings from which to choose, hence the more traditional Bach substructure. “We won’t mimic the music,” Michele asserted. “The Bach will be the glue.”

As for the ending? We’ll see…

While I was in the studio, I came up with this Deoro update:

Dave Eggar: Dave revealed that the group scored a Grammy nomination for “Best Musical Arrangement” Of “Itsbynne Reel” from Deoro’s latest CD, “Kingston Morning” (Gil Goldstein, arranger and Grammy winner himself). It’s up against multiple Grammy Award-winning arrangers Vince Mendoza and Patrick Williams and long-term heavy hitters like Ted Nash and Frank Macchia. The winner will be announced Feb. 13, 2011. Dave said that the nomination has generated a great deal of interest in the group, which has been doing a lot of touring in Europe and Appalachia.

Tom Pirozzi: Tom talked about Deoro’s return to the Phillipines last summer, where the guys drove into the mountains for eight hours to a remote village. “When you’re up there, you feel like you’re a million miles from everything,” he said. One of his fondest memories was drinking his morning coffee in a treehouse. But in case you’re wondering, the village did have some electricity for his electric bass, although “not 100 percent dependable.” And one of the natives was surprisingly computer savvy and gave the village a Facebook page.

Chuck Palmer: Chuck is a native of Columbus, Ohio and, after 10 years of residence, now considers himself “officially a New Yorker.” “But Pittsburgh is really a nice combination of the Midwest and East Coast,” he said, as he went on to explain the band’s reason for its long-term relationship with Attack Theatre. “From the first day, I said, ‘Okay, I love these people. I love them as artists. I’m committed to them. I’m committed to the creative process.’ Maybe that’s because Chuck is a workaholic like everyone associated with Attack. He revealed that they open a show and then go back to the “house” and watch the video. They immediately begin “changing things to make it better — that’s the drill,” and then keeping repeating the process. He’s also grown with Attack. Chuck pinpointed the event where he began expanding his musical boundaries —  a gig at Muhammed Ali’s celebrity-laden “Fight Night” to fight Parkinson’s disease in Arizona, where he played with Dave, Gil and eclectic violinist Lucia Micarelli. “Gil changed the way I looked at music,” he said, explaining that he learned to let “the rhythm live in the room.” So Chuck has built on that, particularly in the all-improv “Assemble This” at various Pittsburgh art galleries and museums last year. In fact, he thanked Peter “because I never had this much safety and freedom within a musical and artistic setting before.”

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