Welcome! Here are the extended program notes for tonight’s show:

WORKS

Min Xiao-Fen | White Lotus

PERFORMERS

Min Xiao-Fen, pipa
Rez Abbasi, guitar


ABOUT THE ARTISTS

Min Xiao-Fen | pipa, composer

Few artists have done more to both honor and reinvent the 2000-year history of the pipa than soloist, vocalist and composer Min Xiao-Fen. Classically trained in her native China, Min was an in-demand interpreter of traditional music before relocating to the United States and forging a new path for her instrument alongside many of the leading lights in modern jazz, free improvisation, experimental and contemporary classical music. NPR Weekend Edition lauded Ms. Min as “one of the world’s greatest virtuosos” and JazzTimes hailed her as “a pioneer in integrating her ancient instrument with modern jazz and improvised music.” The New York Times raved that her singular work “has traversed a sweeping musical odyssey.”

Min’s acclaimed new album, White Lotus (2021), is her original score to the 1934 silent film The Goddess, long thought lost but recently rediscovered and restored. Min’s eclectic score pairs her with acclaimed guitarist Rez Abbasi, who brings together influences from modern jazz, progressive rock and South Asian music. On From Harlem to Shanghai and Back, Min’s Blue Pipa Trio commingles trumpeter Buck Clayton’s Kansas City swing with the music of Li Jinhui, the “Father of Chinese popular music.” Min’s 2012 album Dim Sum spotlights the stunning scope of her original compositions, while her 2017 release Mao, Monk and Me is a deeply personal exploration of the music of Thelonious Monk combined with Chinese folk tunes and children’s songs remembered from her childhood in Nanjing. Min’s projects have been performed at Jazz at Lincoln Center, New York Guitar Festival, ELLNORA Guitar Festival, 100 Years of Monk at the Metropolitan Museum of Art, Shanghai Jazz Festival, Glatt & Verkehrt Festival in Krems and many others. Min was a curator at The Stone and the Museum of Chinese in America in New York. She also served as artist-in-residence with the Sound of Dragon Society for the Vancouver International Jazz Festival and was a guiding artist for the Creative Music Studio and the Haystack Mountain School of Crafts.

Min has received a new commission from the Smithsonian’s National Museum of Asian Art to compose soundtracks for two Chinese silent films from the 1920s, scheduled to premiere on May 6, 2023. www.minbluepipa.com

Website

Rez Abbasi | guitar

Born in Karachi, Pakistan, removed at the age of four to the vastness of Southern California, schooled at the University of Southern California and the Manhattan School of Music in jazz and classical music, along with a pilgrimage in India under the guidance of master percussionist, Ustad Alla Rakha, Rez Abbasi is a vivid synthesis of all the above stated influences and genres. Making New York home for the past 25 years, Abbasi is considered by many to be one of the foremost modern jazz guitar players the world over. He has honed his skills with performances throughout Europe, Canada, the U.S., Mexico and India and has performed and recorded with many jazz greats including, Grammy winner Ruth Brown, Peter Erskine, Kenny Werner, Barre Phillips, Tim Berne, Michael Formanek, Billy Hart, Gary Thomas, Dave Douglas, Rudresh Mahanthappa, Mike Clark, Tim Hagans, John Beasly, Ronu Majumdar, Kadri Gopalnath, Vishwa Mohan Bhatt, Vijay Iyer, Marilyn Crispell, Greg Osby, Howard Levy and a host of others.

Website


ARTIST NOTES

My newest album, White Lotus, is my original score to the 1934 silent film The Goddess. I have always had a special interest in Chinese music and films from the mid-1930s. That time in Shanghai was a so-called Golden Age, not only for the merchants and business class who helped put the city in a strong position as the country's economic and industrial center, but also for the musicians, filmmakers and other artists. During that time, a great jazz history had developed between China and America when the legendary trumpeter and composer Buck Clayton brought Kansas City Swing to Shanghai and began working closely with the father of Chinese popular music, Lin Jinhui, a composer who contributed hundreds of songs to his country’s musical canon. Clayton’s influence on Li helped usher in a brief era of “Chinese jazz” and altered the course of musical history. It was during this period of blossoming artistic growth that The Goddess, a high point in early Chinese cinema, directed by Wu Yonggang, was released in 1934. In one of the most powerful silent performances of all time, the beautiful and celebrated actress Ruan Lingyu plays the role of a nameless young “goddess.” The movie describes the travails of a prostitute working to raise her child and send him through school.

When I decided to compose an original score for the soundtrack, a friend tried to help me locate a high-quality copy of the film. However, the original work had been dismissed as pornography during the Cultural Revolution and sustained considerable damage. We eventually found a remastered version, but it was a mess – the picture was not centered properly and the English subtitles were poorly translated. The film required endless hours of editing and adjustment before it was finally ready for viewing.

My goal was to create an innovative, soulful score, and I want more people to go see this great film. White Lotus tracks for The Goddess include: “Aianca (Impermanence),” “Bija (Seed),” “Champaka (The Flower King),” “Dukkha (Suffering),” “Emaho (Expression),” “Faith,” “Gassho (Palms Together),” “Hatha (Sun and moon),” “Ichie (Chance),” “Joriki (Power of the Mind),” “Karuna (Compassion)” and “Lotus (A Symbol of Purity).” This performance also features Rez Abbasi, a friend as well as an extraordinary guitarist.

— Min Xiao-Fen


ABOUT THE VENUE


ABOUT THE 22/23 SEASON

Exploring the Mysteries Within

Third Angle’s 22/23 Season takes you on a journey wilder than ever before, across genre-bending music, through boundary-defying venues, and beyond groundbreaking immersive experiences to explore the ultimate unknowable frontier—the human mind.

We’ll touch the thin line between reality and psychosis, deromanticize and destigmatize artists’ mental health challenges, heal through collective creation, and confront long-held prejudices against people with visible and invisible disabilities.

The Goddess is generously supported by

Christine Liu & Justin Smith
Ronni Lacroute
George Rowbottom
Oregon Cultural Trust
Regional Arts and Culture Council