
For its June 27 performance at the Redstone Room, the Portland Cello Project will be featuring the music of Beck (Hanson), (Dave) Brubeck, and (Johann Sebastian) Bach. Alliteration aside, the grouping of a contemporary rock artist, a jazz icon, and a Baroque composer is relatively natural for an ensemble known for aggressively omnivorous appetites.
"It really started with the Beck," said Doug Jenkins, the Portland Cello Project's artistic director, in a recent phone interview. "When we heard last August that he was going to put out an album of sheet music rather than actually recording an album, we got really excited, because it just seemed like it was right up our alley - to grab that and play with it and adapt it to our larger orchestral ensemble. And so we booked the show immediately. ... It was coming out December 7, so we booked the shows on December 13 [and] 14 - even having no idea what we were going to get. ... We got the music, and we basically camped out 24/7 to learn all 20 songs and get them all ready to go for the performances. ... They're wonderful songs. ... We recorded them right away, too, a week later, and then put out that CD.
"That was a month or two after Dave Brubeck passed away. [He actually died December 5.] We did kind of a tribute to Dave Brubeck at the same time. And Brubeck and Beck, they actually went together really well. The kind of old-timey feel of the Beck songs from the Song Reader, and of course Brubeck is just wonderful, timeless stuff. ... And then the Bach just seemed like, as a cellist, a logical thing to throw onto it."
Brubeck channeled Bach in his "Brandenburg Gate," and one instrumental piece from Song Reader has a classical vibe, Jenkins said. So "there's already this reaching among the composers who obviously had no idea what we were ever going to do with it. We can find a lot of middle ground, a lot of places to connect things together."




Seeking a reprieve from the unyielding noon sun at the 2012 Summer Camp Music Festival, I head to the Soulshine Tent for a bit of shade and cold drink. Upon entering the tent, I see festival musician Jaik Willis and a camper wrapping up a music jam together. I take a seat, and Jaik invites a young woman to the stage who is next on the open-mic list. With her cowboy hat pulled down tight and a with slow foot tap; she starts her a cappella version of "Me & Bobby McGee." Within moments you can hear the rasp build in her voice as she works her way toward the chorus. Her brow wrinkles, and - as if she were kicked in the stomach - she buckles over and unleashes her vocal wail. She tears through 'til the end and quietly passes the mic back while the small group of observers erupts into cheers, and I think to myself: "This is Summer Camp. Expect the unexpected." I don't remember the young woman's name, but her passionate one-off performance was unforgettable.
Rachel Brooke grew up with bluegrass and country standards and in high school played them in her father's band. Her album A Killer's Dream (from late last year) puts that experience and her voice in a blues context.






