Pete’s Place – 1/30/12

Charlie Hunter Trio “Greasy Granny” (Bing, Bing, Bing – Blue Note, 1995). Leader’s 8-string guitar with sax and drums.

Charles Mingus “Moanin'” from Blues & Roots (Atlantic, 1960?). Pepper Adams on baritone sax.

Lounge Lizards “Harlem Nocturne” (1981). Punk jazz reading of Ellington’s tune (the Mike Hammer theme).

James Farm, “Polliwag” from 2011 album (Nonesuch) with Joshua Redman sax. Very mature sounding jazz.

Mose Allison, “It Didn’t Turn Out That Way”. Beat philosophy.

Poncho Sanchez and Terrance Blanchard, “Chano Pazo Medley” from Chano Y Dizzy (2011, Concord). Cubano jazz.

Grachan Moncur III, “The Coaster” from Evolution (1964, Blue Note). New Thing from 60s. Slightly avant; interesting.

Vijay Iyer, “Polytheism” from Tirtha (ACT, 2011). Piano player explores Indian heritage with guitar and tabla.

11th House with Larry Coryell, “Low Lee Tah” (1974, Vanguard). Fusion with guitar and “electric” trumpet.

Charles Tolliver, “Paper Man” from 1968 recording of same name. Nice New Thing/Hard Bop trumpet.

Freddie Hubbard, “Far Away” from Breaking Point (1964, Blue Note). More New Thing with Indianapolis trumpeter’s most out record, featuring fellow Nap Town player James Spaulding on flute.

Stanton Moore, “Stanton Hits the Bottle” from All Kooked Out (1998 debut for Galactic drummer.

(archive playlists at Peteplace.wordpress.com)

WDBX Opera Overnight: Mozart and Haydn

Act 1: Cherubino hides behind Susanna's chair ...

Cherubino hides in the chair as the Count arrives - anonymous 18th century watercolor (Image via Wikipedia)

We are celebrating Wolfgang Amadeus Mozart’s January 27th birthday with some appropriate music.  Mozart wrote 23 operas, starting when he was 11 years old.  11 of them are still in the regular opera repertoire, and they comprise some of the greatest works in the operatic canon.  We’re going to hear one of those works tonight, Le Nozze di Figaro – the Marriage of Figaro.  This opera buffa (comic opera) was written in 1784, with a libretto by Lorenzo Da Ponte that was based on a stage play by Pierre Beaumarchais.  The stage play was quite controversial in its day (it was actually banned in Vienna), to the point where Mozart and Da Ponte edited some anti-Imperial speeches out and replaced them with arias that complained about unfaithful wives.  Although Emperor Joseph II approved the opera (he approved the libretto before any music was written), he may not have if the editing had not occurred, and he was present at the premiere.  His admonition concerning the length of performances and encores:

“To prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public (that no piece for more than a single voice is to be repeated) to be the most reasonable expedient. You will therefore cause some posters to this effect to be printed.” (quoted from Mozart: A Documentary Biography, by Otto Erich Deutsch)

Libretto 1786

A 1786 libretto (Image via Wikipedia)

The emperor must have really liked the opera, as he requested a special performance at his palace theater the next month.  The emperor was not alone.  Joseph Haydn is said to have told a friend that he heard the opera in his dreams, and he attempted to produce the work in the Eszterhazy palace, but was prevented from doing so by his patron’s death.

The Wiener Realzeitung reviewed the opera on 17 July 1786.  It noted the presence of hecklers that interfered with the performance, which are suggested to have possibly been paid.  But the review was generally positive:

“Mozart’s music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves.

The public, however … did not really know on the first day where it stood. It heard many a bravo from unbiassed connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St! and Pst; and consequently opinions were divided at the end of the piece.

Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition.

But now, after several performances, one would be subscribing either to the cabal or to tastelessness if one were to maintain that Herr Mozart’s music is anything but a masterpiece of art.

It contains so many beauties, and such a wealth of ideas, as can be drawn only from the source of innate genius.” (also quoted from Deutsch)

The overture is one of the more easily recognized pieces of classical music, but it is interesting to note that, unlike most overtures, the themes stated in the overture are not used anywhere else in the opera, except for two brief phrases that are used in Act 1.  Another interesting technical note is that, except for one aria in Act 4, Le Nozze di Figaro was written entirely in major keys.

The opera achieved immediate and long-standing success, and is now ranked as the fifth most performed opera in the catalog.

Tonight’s recording is a 1994 recording (apparently recently reissued last year by Deutsche Grammophon, the original label), with the following cast:

  • Lucio Gallo,
  • Sylvia McNair,
  • Cheryl Studer,
  • Boje Skovhus – Danish baritone who has worked frequently in Vienna
  • Cecelia Bartoli – considered a coloratura mezzo-soprano with an unusual timbre.  She is one of the most highly regarded modern opera singers, and is well known for her Mozart and Rossini roles, as well as for her work in the baroque and early classical repertoire.

The Vienna State Opera Choir and the Vienna Philharmonic are conducted by Claudio Abbado.

Portrait of Joseph Haydn - younger by Ludwig G...

Josef Haydn, c. 1772 (Image via Wikipedia)

For our second opera of the evening, we heard a recording that I’ve been working to acquire for several weeks, Armida, by Mozart’s friend Joseph Haydn.  In his time, Haydn was actually better known for his operas than for his other material, even though the reverse might be true today (he is considered the “father” of the symphony and the string quartet, and made important contributions to the piano trio and sonata forms).  But opera was in fact a staple of the entertainment options preferred at the Esterházy court, and it served as Haydn’s ticket to success – indeed, an opera, Der Krumme Teufel, often translated as “The Limping Devil,” is one of Haydn’s early works, dating to his freelance days (the music is lost, although two librettos survive).  While he wrote a total of 24 operas, he considered Armida to be one to be one of his best.  He premiered it on Feb. 26, 1784, and it was quite successful in his time.  However, it disappeared from the opera repertoire for a number of years (I suspect for the same reasons that the works of men like Lully, Gluck and Hasse were also seldom performed), before being revived in 1968 in Berlin.  Happily, with the advent of the interest in early music performance and practices, works such as this have reemerged into the public consciousness.

To my knowledge, there are only two recordings of this opera: a 1993 recording with Jessye Norman in the title role, and that which we have here tonight.  Tonight’s performance, like our previous opera, features Cecilia Bartoli (just worked out that way), with the following cast:

  • Cecilia Bartoli
  • Christoph Prégardien – German lyric tenor who has done much work with Mozart, recital and oratorio material.
  • Patricia Petibon – French coloratura soprano who specializes in French Baroque music.
  • Oliver Widmer – Swiss baritone who studied with Dietrich Fischer-Dieskau.  He married Cecilia Bartoli in 2011.
  • Scot Weir – American lyric tenor who is noted for his performance in the Bach Evangelist roles (re: Bach’s two Passion works)
  • Markus Schäfer – German tenor who specializes in music from the Baroque and earlier eras.  He has also done lieder recitals.

The Concentus Musicus Wein is conducted by Nicolas Harnoncourt.

The Galaxy – The special music of a special man

Mozart, about 1780. Detail of Mozart family po...

Wolfgang Amadeus Mozart, painted c. 1780 (Image via Wikipedia)

January 27th marks the 256th birthday of the great composer Wolfgang Amadeus Mozart.  It seems only fitting that we mark the occasion with some appropriate selections from this great composer.

We started off the set with a fine recording of the Requiem Mass, KV. 626.  The story behind the work is the stuff of legend: the mysterious commission from an anonymous benefactor (which eventually proved to be Count Franz von Walsegg), Mozart’s attempts at multi-tasking (he completed Die Zauberflote, wrote his well-known Clarinet Concerto and did some other things while working on the Requem), his illness (he first became ill on 20 November 1791), and eventual passing on 5 December; the struggle by his widow, Constanze, to assemble some form of a finished product, with the help of Mozart’s closest associates (most notably Franz Xaver Süßmayr), so that she might receive the balance of the fee owed by von Walsegg.  Indeed this is the sort of stuff that makes for good movies (which, in fact, it did).  But, while the fact is that we are listening to a work that Mozart left unfinished, which was completed by others, this should not diminish in our eyes the exquisite beauty of this masterpiece.  The fact is that the Requiem represents part of a chain of events and compositions which suggests the composer was in the process of exploring a number of interesting new ideas and directions at the time of his passing.  Tonight’s recording is a 1995 recording by Les Arts Florissants, with William Christie directing.

We followed the Requiem with the aforementioned Clarinet Concerto, K. 622.  The Clarinet Concerto was actually written for a new variety of clarinet then being championed by noted clarinetist Anton Standler, a basset clarinet that extends the range of the B flat and A clarinets down to a low C.  Interestingly, Mozart’s publisher made an arrangement of the concerto with the low notes transposed into a normal clarinet’s range, but never published the original, and the original itself has been lost.  Although there have been attempts at reconstructing the original, with special clarinets built to accommodate the range required for the work, the work we hear tonight I believe to be the altered version.  Regardless, the melodies set forth by this work are instantly memorable and strikingly beautiful, truly a joy to the ear, and the work ranks among the key parts of the clarinet musical catalog.  Tonight’s recording is a 1972 recording by the Academy of St. Martin in the Fields, under the baton of Sir Neville Marriner, featuring Jack Brymer on clarinet.

We closed the evening with one of Mozart’s early works, his Serenade No. 1 in D major, K100/62a.  It was written in the summer of 1769 (he was 14), and apparently was written for a party given for the retirement of a Salzburg University professor.  It was most likely written for outdoors performance (remember our discussion of serenatas from a few weeks ago?).  Here we have demonstrated his considerable technical skills, even at such a young age.   Tonight we heard a 1970 recording by the Vienna Mozart Ensemble as directed by Willi Boskovsky.

Your Community Spirit 2012 January 27

Today’s song is Brighid’s Kiss by Triniti. News includes Occupy Updates Daily; Land Swap on Shawnee National Forest Received Negatively; Schoolkids Want Lorax To Be More Tree-Huggy; McDonald’s Discovers Social Media Can Backfire When People Hate You; Agriculture Gets Climate Pass. Happenings include Raw Foods at Rice and Spice; Winter Folkstravaganza at Cousin Andy’s Coffeehouse; The People vs. Monsanto; Vigil for Peace; Music Showcase at Big Muddy IMC; Presentation by Two Regional Anarchists.

Pete’s Place playlist – 1/23/12

Stanton Moore, “Green Chimneys” from All Kooked Up, the drummer’s 1998 debut album away from his jam-band group Galactice.

Poncho Sanchez and Terrance Blachard, “Groovin’ High” from Chano Y Dizzy (2011). The Gillespie be-bop classic.

Stephon Harris, David Sanches, Christian Scott, “Black Action Figure” from Ninty Miles. The jazz vibist, tenor saxman, and trumpet dude travel the 90 miles to Havanna to record with Cuban rhythm section. Nice 2011 record (from Pete’s annual music Christmas music present from Pat).

Arthur Blythe , “Down San Diego Way” from Lennox Avenue Breakdown. One of the great records of 1980s jazz. The leader’s distinctive high-pitched alto sax surrounded by cello, chunka guitar (Blood Ulmer), tuba, and flute. What a band!

Wes Montgomery, “4 on 6” from The Incredible Jazz Guitar of Wes Montgomery. Second LP for Riverside records, considered his all-time best straight jazz session by many aficianados. The thumb-strumming, the “ocatives” device.

Vijay Iyer, “Duality” from Tirtha. More Christmas music — favorite record from 2011. Pianist with Indiana heritage leading trio with guitar and tabla. Nice.

McCoy Tyner, “Celestial Chant” from Trident (1975, Milestone). Tyner’s power block chords played on celeste?! With Elvin Jones (fellow member of John Coltrane’s great mid-60s quartet) on drums and Ron Carter on bass. Great record that’s long appealed to listeners with “rock ears”.

Marc Ribot y Los Cubanos Positivos “Aurroa En Pekin”. Easy jazz y cubano (1998).

Sonny Clark, “Blue Minor” from Cool Struttin’ (1958, Blue Note). Classic soul jazz with leader on piano, Jackie McLearn’s arid also sax, and Art Farmer on trumpet. Deeply swinging.

Pat Martino “Inside Out” from Undesirable (2011). Guitarist recorded in 2009 at a Washington DC nightclub.

WDBX Opera Overnight: Donizetti, Verdi

Portrait of Gaetano Donizetti

We started tonight’s show with a classic recording of Gaetano Donizetti‘s Lucia di Lammermoor.  The opera was written in 1835, and loosely based on Sir Walter Scott’s Bride of Lammermoor, which itself was loosely based on real-life events that occurred (or may have occurred – the events themselves are shrouded in mystery) in 1669, involving the Scottish Lord Stairs and his Dalrymple family.  In Donizetti’s time, Scottish lore and folklore was quite popular, rife as it was with at times violent melodrama.  This, along with the various Scottish stereotypical characters that were popular at the time, were the ideal formula for an opera, and Donizetti’s opera became a opera house staple, a showpiece for coloratura sopranos and lyric tenors.

This is especially the case with Lucia’s “mad scene” (Spargi d’amaro pianto) that takes place near the end of the opera, where she sings solo, in some instances without orchestral accompaniment.  The “bel canto” tradition (of which Donizetti was a leading proponent) called for performers to augment the written parts with ornamentation so as to demonstrate their technical abilities, and this is usually the case with the “mad scene”.  But it is not just a piece dominated by the sopranos – there are significant parts for lyric tenors, and a baritone-bass part is quite prominent as well.

Donizetti actually wrote the opera in Italian and French versions, with the French version being premiered in 1839.  French coloratura soprano Natalie Dessay famously participated in a well-received revival of the French version in 1998 at the Opéra National de Lyon, a 2002 recording of which is available through EMI (Dessay actually made two recordings of the French version that year).  Chandos Records has also released a recording of the Italian version performed in English.

English: Portrait of Dame Joan Sutherland, tak...

Image via Wikipedia

Tonight’s performance is a classic from 1972, with the following cast:

  • Joan Sutherland – Australian who was possibly one of the greatest coloratura sopranos of the 20th century.  Although she was not known for the correctness of her diction, her singing technique was legendary, and her upper range was superlative, almost supernatural.  She was best known for her bel canto roles, and Lucia di Lammermoor was her breakthrough role.  Her technical demonstration during the aforementioned “mad scene” is quite spectacular.  The vast majority of her recordings were made under the baton of her husband, conductor Richard Bonynge.
  • Luciano Pavarotti – Pavarotti made his American debut in 1965 in Lucia di Lammermoor, opposite Sutherland, and it was his bel canto singing that helped drive his success.  In particular, Pavarotti credited Sutherland with teaching him the breathing technique that he felt sustained him over the course of his career.  So this proves to be an important recording document in Pavarotti’s catalog.
  • Sherrill Milnes – a Downer’s Grove, Illinois native who studied music education at Drake and Northwestern (he pledged with the Alpha Beta chapter of the music fraternity Phi Mu Alpha at Drake in 1954).  He was well known for his performances in various Verdi operas, and was one of the more prominent Verdi baritones during the ’70s and ’80s.  He is currently a professor emeritus in voice at Northwestern.
  • Nicolai Ghiaurov – a Bulgarian bass who was considered the most prominent bass of the post-WWII period.  He was often associated with Verdi roles, and at some point we have an excellent recording of him doing the title role in Moussorgsky’s Boris Godunov that will be featured in a future WDBX Opera Overnight broadcast.
  • Ryland Davies – lyric tenor from Britain who is known for a variety of roles.  In addition to his performance schedule, he currently teaches voice at the Royal Academy of Music in London.
  • Huguette Tourangeau – a 1964 winner of the Metropolitan Opera National Auditions, the French-Canadian mezzo-soprano became a frequent collaborator of Sutherland and Richard Bonynge.  She was featured in a recent article in OperaNews, where she credits Bonynge for helping her understand and improve her technique and range.
  • Pier Francesco Poli

Richard Bonynge, Sutherland’s husband, conducts the Royal Opera House Orchestra & Chorus.

Role photo. Kirsten Flagstad as Aida in Aida, ...

Kirsten Flagstad as Aida (Image via Wikipedia)

Our second opera of the evening is Giuseppe Verdi’s Aida, sometimes spelled Aïda.  Verdi was commissioned to write the opera in 1871 by Is’mail Pasha, then the Khedive (term for viceroy used by the then-ruling Ottoman Empire) of Egypt, who paid him 150,000 francs.  Verdi used a libretto by Antonio Ghislanzoni based on an idea by the French Egyptologist Auguste Mariette.  The opera was premiered on December 24, 1871 in Cairo, but Verdi was irritated when he discovered that the attendance was limited to special invited guests of the Khedive.  So he considered its European premiere, at La Scala in Milan on February 8, 1872, to be the true premiere, and involved himself extensively in the production.  Verdi purposefully wrote the opera without an opening overture, using a brief prelude instead.  Eventually he did write an overture, but was quite dissatisfied with the outcome (he disliked its “pretentious insipidity”), and declined to have it performed; the overture is rarely performed today.

The aforementioned Milan performance was vastly successful, and major opera houses across Europe and the rest of the world quickly moved to include the opera in the repertoire.  Its dynamic and demanding roles for soprano and tenor often attract the best talent.  Aida is now ranked as the 13th most performed opera, and has been performed more than 1,100 times at the Met.  It was also the first opera to be televised (with Arturo Toscanini conducting, in 1949), and the story was recently used by Elton John and Tim Rice as the basis for a Broadway musical.

English: Leontyne Price (color) by Jack Mitchell

Leontyne Price in 2008 (Image via Wikipedia)

Tonight’s recording is a 1962 performance featuring:

  • Leontyne Price – One of the first African American singers to regularly take leading roles at the Metropolitan Opera.  She is officially considered a “lyrico spinto”,  a “pushed lyric” soprano – one that can easily achieve the high notes of a lyric soprano, yet who can also handle dramatic climaxes; lyrico spintos usually have a darker timbre than lyric sopranos, and can handle heavier roles that would potentially damage lyric soprano voices; Verdi wrote many roles for spintos, as did Puccini, and there are a number of roles in Wagnerian pieces that attract spintos.  Her vocal type meant that she was considered ideal for Verdi roles.
  • Jon Vickers – Canadian heldentenor who was highly regarded for his vocal quality and acting technique.  His presence is an excellent indicator of the frequency at which Wagnerians will cross over to do Aida.
  • Robert Merrill – born Moishe Miller to Polish immigrants, Merrill was a widely admired baritone who made more than 700 appearances at the Met in 21 different roles.  He made at least 23 recordings of complete operas.
  • Rita Gorr – Belgian mezzo-soprano who was especially noted for her portrayal of Amneris in Aida.  Her other roles ranged from Ortrud in Lohengrin to Santuzza in Cavalleria Rusticana, and sang the role of the Countess in Tchaikovsky’s Queen of Spades in 2007, at age 81.  She passed away Sunday, January 22nd (indeed, yesterday), a fact that was completely unknown to me until I was actively composing this blog entry (I’m still having difficulty finding info on this fact).
  • Franco Riccardi.

Sir Georg Solti conducted the Orchestra e Coro del Teatro del’Opera di Roma.

The Galaxy – Etta James; Burns Night

At Last!

Album cover from At Last, Etta James' first album (Image via Wikipedia)

We started off tonight’s show with a remembrance of the great r&b vocalist Etta James, who passed away Friday at the age of 73.  Millions of listeners will remember her for her great ’60 classic At Last.  But her catalog goes far beyond that, with samplings of classic r&b, soul, and early ’60s pop.  Although she recorded right up to the point where Alzheimer’s wouldn’t let her go anymore, we focused tonight on a nice sampling from her prime period, between ’60 and ’68.  We heard At Last, All I Could Do is Cry, If I Can’t Have You, A Sunday Kind of Love, My Dearest Darling, Security, and I’d Rather Go Blind.

Cover of "Brilliant Corners"

Cover of Brilliant Corners

Then we heard two songs from the great jazz pianist, Thelonious Monk, from his great ’56 album Brilliant CornersSonny Rollins was hired for the date as a sideman, right as his own breakthrough album, Saxophone Colossus, was about to be released.  Monk was a bit of a challenge to work with, so to have a great saxophonist like Sonny Rollins leads to some absolutely tremendous music, which is certainly the case here, as is demonstrated by these recordings of Brilliant Corners and Pannonica.

Being of Scottish descent, it seems only appropriate that I find a way to celebrate Burns Night musically.  Of course, when doing this, one must take care to actually play Scottish music, as opposed to Irish music (nothing against Irish bands, of which there are a great many fine examples that I have enjoyed playing on the show).  But this is, after all, a SCOTTISH holiday, celebrating the life and work of the great Scottish poet Robert Burns (you may know his song Auld Lang Syne, or his poem A Red, Red Rose).

English: Robert Burns Source: Image:Robert bur...

Robert Burns (Image via Wikipedia)

When listening to Celtic music, it is good to note the practice of blending songs and melodies together to form new combinations that make up the larger song.  This is a long-standing practice in Celtic music, and one will find this in both traditional folk settings and in recordings and performances of bagpipe bands.  This is actually one of the interesting facets of Celtic music, given the strong tradition of folk music among Celtic peoples.  This allows the numerous traditional melodies and songs (many of which were collected and transcribed by Robert Burns) to take on new life and new contexts.

It is also interesting to note the numerous, intertwining connections between Celtic music and other forms of music.  Like with other forms of music, Celtic music does not live in a vacuum.  For many years Celtic music has influenced, and in turn has taken influence from, numerous other musical roots and forms, ranging from English folk music to pop and rock music.  Also, as Scottish families have emigrated to various locations around the world (i.e. the US, Canada, Australia, etc.), they brought their music with them.  I personally would categorize at least some of the roots of bluegrass music as having come from various forms of Celtic music, as there were many settlers of Scottish and Irish descent who settled in the Appalachians.  So, the act of examining the roots of Celtic music also has the potential to bring one to a better understanding of  some of the roots present in American music.

Members of Silly Wizard perform at Celtic Conn...

Members of Silly Wizard perform at Celtic Connexions with Phil Cunningham and Friends - February 2007 (Image via Wikipedia)

So we started this set with a few from The Boys of the Lough (especially appropriate coming from me, as their fiddler, Aly Bain, hails from the Shetland Islands, the same region that my own family lived in for 125 years) : Da Cold Nights o’ Winter/Da Blue Yow/Da Spirit o’ Whiskey, Da Fields o’ Foula/Garster’s Dream/Da Brig (Foula is one of the islans in the Shetland Islands chain, located halfway between Shetland and Norway and owned by Scotland), Da Day Dawn/The Papa Stour Sword Dance/The Cross Reel (Papa Stour is another island in the Shetland Islands chain), and The Greenland Man’s Tune/Da Forfit o’ Da Ship/Green Grow da Radishes (all from their album Midwinter’s Night Dream).  Then we heard a few from the fine Scottish band from the ’80s, Silly Wizard: A Scarce O’ Tatties/Lyndhurst, Donald McGillavry/O’Neill’s Cavalry March, The Valley of Strathmore (all from their album So Many Partings), and A.B. Corsi (The Lad from Orkney)/Ril Bheara/Richard Dwyer’s Reels (from their album Wild and Beautiful).  Then we heard from Nomos – Wing Commander Donald MacKensie’s/Andy Renwick’s Ferret/Diaran Tourish’s Reel and All The Ways You Wander, from their album I Won’t Be Afraid Anymore.  Quite a toe-tapping set!

Next, for a change of pace, we heard from a gospel group that toured various local churches during the mid-70s, The Family.  Comprised of a group of missionaries who met while at Youth With A Mission’s evangelism school in Switzerland, they made an album, Fresh Fruit, which has some great songs with some exquisite vocal harmonies.  While I don’t remember the event, I’m certain that I have to have been present at one of their performances, with my parents, at which point my mother bought one of their LPs (on the MannaFest Music label, out of San Diego).  It is a shame that such lovely music like this might be forgotten in this modern digital age.  Happily, modern technology allows us to capture and archive such past glories.  Tonight, we heard Teach Us Dear Lord, Temple Song and Two Roads.

We closed the show with a few songs from Keith Green, an early member of the “Contemporary Christian” trend in the ’70s.  Interestingly enough, there is a hidden connection between Keith Green and the previous set from The Family – Steve Greisen, member of The Family (now a film executive), eventually married Nelly Ward, member of another Contemporary Christian act, 2nd Chapter of Acts.  Nelly’s sister, Annie Ward (later Annie Herring), co-wrote The Easter Song, one of Green’s best-known songs.  From Keith Green, we heard Trials Turned to Gold, Asleep in the Light, and My Eyes are Dry.