In a time when the music world is full of artists trying to be completely different, the members of the Genkin Philharmonic West succeed. The GPW performed a set at The Tralf Thursday that was miles from ordinary curricula.
The 12-piece electro-acoustic chamber ensemble is made up of mostly students from UB under the instruction of Jon Nelson, who also pitches in on trumpet. The ensemble is actually a class, which in itself was a source of amusement for Nelson.
"I get paid to do this and they pay to do it," Nelson joked to the crowd.
The GPW opened with several covers by Frank Zappa, including "Eat That Question" and "Little House I Used to Live In." Bongos, a baritone tuba, a flute, two percussionists, a trombone, and several saxophones surprisingly conveyed the identity of the songs without question. Zappa may seem like an offbeat choice, but Nelson is insistent upon exposing the musicians to all types of music.
"The pieces that I choose are important for them to know. As a musician, you have to be familiar with many styles," Nelson said after the set.
A powerhouse horn section consisting of a trumpet, trombone and a few saxophones drove the ensemble through a variety of tunes. Even the football player-sized piccolo player made his presence felt while standing next to the tuba.
The xylophone and flute gave the ensemble a bright, marching band flavor, disguising a few of the songs. Each musician moved independently, causing the sound to travel in 12 separate directions, but maintained cohesion.
Between a lounge piano spotlight by Vincent Loccisano, a tribal percussion section, and carefully placed dissidence, the GPW was able to cater to the tastes of the multifaceted crowd.
On Jimi Hendrix's "Manic Depression," action-hero drums flirted with the dominant brass to create an aural attack with a constantly shape-shifting sound.
The Hendrix cover led into a solo on the didgeridoo by Steve Baczkowski that fed on feedback to produce a buzz in the chest of every listener.
Nelson has taken it upon himself to transform each person in his ensemble into more than just a student.
"I treat them like professional players. It's a little bit of a fascist situation," Nelson said of his methods.
Nelson not only strives for professionalism, he views a musician's time in college as a critical point in their career.
"Every time they play their instrument, it's a performance. Now is the time for them to cultivate a deep relationship with the music," Nelson said.
"Oath" by Tom Pierson was the final song of the main set. The keyboard and mallet-pounded bongos created an eerie mood amidst the pulsating bass drum punctuating the atmosphere. The air was poised for the inevitable standing ovation and encore performance, which the GPW provided with "Preaching to the Converted," by Nick Didkovsky.
The GPW has a repertoire that includes songs from Captain Beefheart, Rush, King Crimson, Radiohead and even Igor Stravinsky. They traveled to the East Village of New York City Sunday night for a show at the club Tonic.
Twelve men may have been onstage, but the music that emanated from the speakers resonated with unity. It was as if the sound was a light passing through a prism and all the colors were blended back together with the utmost care. The tight and well-rehearsed group avoided the trap of appearing as though they were just going through the motions.
The five-piece jam band Thought opened for the GPW with an all-original set of love-themed tunes. The group featured guitarist Tim Allen, who performed in both Thought and the GPW.
Photo: Courtesy of Matthew Messina, from the RMBERS' Instagram page
