PERFORMANCES & TICKETS
Britt Orchestra / Symphony Pops with Halie Loren
Sunday, August 14, 7:30 p.m.
TICKETS ON SALE 2-12-16 at 9 a.m.: Reserved $20 | Lawn $5
PLEASE NOTE: The front lawn area (between the stage and the reserved seats) is not available to the general public for this concert.
GATES OPEN @ 5:45 Early Entry | 6:00 General Public
The popular Symphony Pops concert returns with a jazzy pops program featuring Oregon’s own celebrated jazz vocalist Halie Loren.
Unless otherwise noted, program notes are written by Mark Knippel.
Cowboys Overture | 1972
By: John Williams
Summertime | 1935
By: George Gershwin | Lyrics: DuBose Heywood | Arranger: Matt Treder
In the summer of 1934 George Gershwin and the poet DuBose Heyward went to a small island near Charleston, South Carolina, to gain a feel for the locale and its culture. The first product of their collaboration now holds the distinction of being the most popular song from the most-performed American opera, Porgy and Bess. It became the third-most recorded jazz standard in history, praised by Will Friedwald in Stardust Memories for being “not only a lullaby but a spiritual as well.”
Blue Skies | 1926
By: Irving Berlin | Lyrics: Irving Berlin Arranger: Matt Treder
Irving Berlin’s upbeat ode was actually inserted into a 1927 Rodgers & Hart Ziegfield show, Betsy, without their knowledge and much to their chagrin. The show folded almost immediately but the song lived on, immortalized that same year by vocalist Al Jolson in the first feature-length motion picture with sound. The Jazz Singer secured Jolson’s legacy as well as the song’s but also spelled the end of silent films, ushering in instead a golden era of Broadway musicals on film.
Sway (¿Quién será?) | 1953
By: Luis Demetrio & Pablo Beltrán Ruiz | Lyrics: Norman Gimbel (English) | Arranger: Rob Birdwell
Dean Martin’s 1954 recording of the mambo reached number fifteen on the Billboard US Hot 100 best-seller chart.
A Whiter Shade of Pale | 1967
By: Gary Brooker, Keith Reid & Matthew Fisher | Lyrics: Brooker & Reid | Arranger: Matt Treder
The song, with its instantly identifiable Bach-derived theme, was the debut single from English rock band Procol Harum. It reached number one in the UK Singles Chart and stayed there for six weeks, becoming one of the counterculture anthems of the 1967 Summer of Love.
La Forza del Destino | 1862
By: Guiseppe Verdi | Conducted by Britt Conducting Fellow, Conner Gray Covington
Danger in Loving You
By: Halie Loren | Lyrics: Halie Loren | Arranger: Matt Treder
Sunny Afternoon | 1966
By: Ray Davies | Lyrics: Ray Davies | Arranger: Matt Treder
The Kinks imbued the song with its darkly sarcastic tone and music hall flavor as a response to high levels of progressive taxation enacted at the time by the British Labour government.
My Favorite Things | 1959
By: Richard Rodgers | Lyrics: Oscar Hammerstein II | Arranger: Matt Treder
In 1961, John Coltrane famously lifted “My Favorite Things” from Rodgers & Hammerstein’s hit musical The Sound of Music to explore his developing modal concept of jazz in an almost fourteen-minute long recording. Though Richard Rodgers lived to see scores of his melodies become perennial jazz favorites, the composer himself was no fan of the liberties taken by jazz musicians.
By: Halie Loren | Lyrics: Halie Loren | Arranger: Matt Treder
Star Wars Main Theme | 1977
By: John Williams
By: Halie Loren & Matt Treder | Lyrics: Halie Loren | Arranger: Matt Treder
My One and Only Love | 1953
By: Guy B. Wood | Lyrics: Robert Mellin Arranger: Matt Treder
Originally penned six years earlier with a different set of lyrics, the song was far from an instant hit. Jazz critic Benny Green would later dub it “one of the most finely wrought ballads to be written in the postwar period,” an assessment wholeheartedly endorsed by artists numbering in the dozens ever since.
By: Halie Loren | Lyrics: Halie Loren Arranger: Matt Treder
Feeling Good | 1964
By: Anthony Newley | Lyrics: Leslie Bricusse Arranger: Rob Birdwell
First recorded by Nina Simone in 1965, "Feeling Good" became one of her signature songs. Its timelessness has inspired artists for over six decades, from John Coltrane to Michael Bublé to the English rock band Muse.
Fed by the beauty of her childhood homes of Alaska and Oregon, Halie Loren’s gift for discovering the playfulness, pizzazz, and sensuality inherent in a lyric appeared early on. But it was her talent for turning those feelings into genre-defying original compositions—songs at once universal and deeply personal—that captured wider attention.
With purity of tone and rare interpretive prowess, Loren brings a fresh and original perspective to time-honored musical paths, channeling her innate understanding of connectedness across musical boundaries to forge bonds with diverse audiences in North America, Asia, and Europe.
Loren won songwriting awards in the John Lennon Songwriting Contest and Billboard World Song Contest, and also won the Female Rising Star and Alternative Entertainer awards while still in her teens. Her debut release of eleven original songs, Full Circle (2006), was hailed for exhibiting “a power and grace that are nearly unheard of in popular music.” Her sophomore album, They Oughta Write a Song (2008), brought to light her life-long love of jazz standards, and subsequently won a national independent music award for best vocal jazz album. Later albums have earned critical praise and awards, and have topped jazz charts in the U.S., Canada and Japan.
Her newest release, "Butterfly Blue", was released in 2015. It debuted at #1 on Japan’s Billboard Jazz chart and placed in chart’s Top 10 list for eight weeks. The album ventures into some new recording territory for Loren, exploring her musical roots in not only jazz, but also in soul, blues, folk, and pop.
Loren’s music has proven irresistible to concert halls, including performances with the Jazz Orchestra of Sicily, the Corvallis-OSU Symphony Orchestra in Oregon, and the Monroe Symphony in Louisiana. For the past three years she has traveled the world with the members of her original band, including Canada, Japan, Italy, China, Hong Kong, and South Korea.
Guest Artist: Halie Loren
Upon its release in Japan and Asia earlier this year, Butterfly Blue debuted at #1 Billboard on Japan's jazz album chart, her third consecutive album to top that esteemed chart. Loren's seventh Japan tour this February with her quartet consisted of ten days, three cities, and thirteen shows, with an eight-show run at Tokyo’s famed Cotton Club.
With the album’s mid-summer’s release in the US and rest of the world, the scene has been repeated as she and her band have performed across the US, playing sold-out appearances at the Rochester International Jazz Festival, Montreal International Jazz Festival, Yoshi’s in San Francisco, the iconic club Hugh’s Room in Toronto, and Seattle’s Jazz Alley. She completed her most successful tour in South Korea to-date, followed by performances in Italy (with the Sicilian Jazz Orchestra) and the West Coast (including several dates with New West Guitar Group) this fall.
Butterfly Blue has been described as Loren's most sophisticated and mature release yet, and also her riskiest effort in terms of artistic reinvention and reach. This broad-yet-unified collection of twelve tracks, hailed by many critics and fans as her best yet, creates a soul-steeped journey through the expansive varieties of American music: from textural and catchy original opener "Yellow Bird" to the playfully defiant hope of "Carry Us Through”, from the gutsy oomph of Motown on Loren’s “Butterfly” to the ramshackle darkness of “Boulevard of Broken Dreams", from the sultry swing of “Stormy Weather” to the percussive and plaintive poetry of album original “Blue” (penned by guitarist/songwriter Daniel Gallo), each song moves with ease into nuances of folk, balladry, jazz, soul and blues. There is fracture here, and heartbreak, an emotional fragility that forever seeks redemption in song and the healing powers of love. And there is joy, a singleness of vision that moves upward and outward seeking the dynamo of connection, both to others and the world at large.
Authenticity and connection is one of the primary keys to Loren’s artistic approach: whether it’s injecting the American Songbook with old-school soul or finding a familiar thread of nostalgia in newly-penned originals, no matter the language (her repertoire finds her singing in French, Spanish, Portuguese, Italian, and more), Loren finds ways to bridge cultures and genres in unlikely and always heart-felt ways. "Music creates greater connection with other people, connection to my purpose for existence," Loren says.
It's rare in this age of instant gratification and immaculate packaging to watch an artist grow and develop over time, much less one as gifted as Halie Loren. Loren's 2006 debut, Full Circle, released when she was just 21, revealed an artist talented beyond her years, capable of composing and performing an album's-worth of original work. She released two albums in 2008, the holiday collection Many Times, Many Ways and They Oughta Write a Song, which featured a simmering cycle of jazz standards as well as another excellent Loren original in the title track. The latter album landed an independent music award for best vocal jazz album and received distribution in Asia (JVC/Victor Entertainment) and North America (Justin Time Records). From there, she released a superb live album, Stages (2010), which found Loren broadening her reach into new musical territory -- including a stunning interpretation of U2's "Still Haven't Found What I'm Looking For" and other forays into the broad byways of American popular music.