Bringing their acclaimed partnership to the dance stage for the first time, tenor saxophonist Charles Lloyd and jazz pianist Jason Moran united with Alonzo King LINES Ballet for SAND. King’s choreography is fertile creative ground for the trailblazing duo —two generations of jazz masters who share “an unerring ability to get to the emotional heart of a song,” according to JazzTimes. Forever rooted in the canonical structures of the past, ballet dancers and jazz musicians mine the present moment. Together they revel in the freedom borne of exacting discipline, and boldly forge ahead.
Of his aspiration to work with Grammy Award winning vocalist Ms. Lisa Fischer, Alonzo King says, “Lisa Fischer is a brilliant artist with a fully throbbing heart and expansive mind. She is an inspiration of sound, body, and being.” With a voice resplendent in its strength and range, Ms. Fischer has shared the stage with musical luminaries of nearly every genre, including Mick Jagger, Aretha Franklin, Tina Turner, Beyoncé and Sting. The twelve dancers of LINES Ballet are her newest collaborators in The Propelled Heart, a work that pays tribute to the power of song. King explores the kinetics of the human voice, revealing the communicative potential of the body as an instrument, and also as vocal chord. The piece is a voyage; standing sentinel at the inchoate, pre-verbal beginning, Ms. Fischer impels the dancers’ evolution. Under her gaze they radiate, churning noise into harmony, hearts ablaze.
Called "riveting" by the San Francisco Chronicle, Biophony is Alonzo King's newest work in collaboration with natural soundscape artist Bernie Krause and composer Richard Blackford. For more than forty years, Krause has traveled the globe with microphones tuned to the earth and its creatures. His vast archive catalogs the collective sound of entire ecosystems - what Krause terms biophony. From the rainforests of Borneo to a waterhole in Kenya, from the Alaskan tundra to a meadow high in the Sierra Nevada mountains, his recordings carry imprints of habitat in peril.
Like an arrow poised for flight, an undercurrent of restless agitation pervades Alonzo King’s latest work set to four Shostakovich string quartets. The music wavers in a state of crystalline suspension, pushing the dancers’ tensile strength to the limit as they revel in the space between harmony and discord, in the long arc before an earthbound fall.
Choreographed to Bach’s concerto in D Minor (utilized famously by George Balanchine in 1941), Concerto for Two Violins is a sleek and sharp salute to ballet’s past while marking the continued evolution of neoclassicism. Balanchine’s training in music theory provided one visual conception of the score. As King investigates the densely layered contrapuntal voices for himself, we hear beloved melodies anew. San Francisco Chronicle dance critic Alan Ulrich wrote that the piece delivered what LINES Ballet audiences have come to expect: “dancing of immense pliancy and emotional resonance by a team of amazingly resilient performers who relish the challenges that King’s choreography throws their way.”
Commissioned in 2010 by Les Ballets de Monte-Carlo, King’s masterful Writing Ground draws inspiration from poems by award-winning author Colum McCann. An emotionally searing and lyrical work, set to a collection of sacred early music from the Jewish, Christian, Muslim, and Tibetan Buddhist traditions, Writing Ground challenges the Company to explore new physical territory. Writing Ground “illustrates the power of Alonzo King’s story-telling at its height” (Huffington Post).
Alonzo King’s collaboration with the Grammy Award winning composer and bass virtuoso Edgar Meyer is a welcoming piece of stunning moments, heart-piercing melodies, and touches of narrative rarely seen in King’s choreography.
Created for the Company’s 30th anniversary, Meyer is lusciously textured with a striking backdrop of synchronized water created by the Academy Award winning designer Jim Doyle. Meyer speaks of the complexities of human behavior in a piece that pulses with playfulness. King’s solos and duets alternate from exhilarating tear-up-the-space dancing to his sensitive and at times contentious partnering.
Triangle of the Squinches, is set to a commissioned score by legendary musician Mickey Hart and features an innovative kinetic set by cutting-edge architect Christopher Haas. In this piece, Alonzo King explores the inner and outer space of the body: how do we strive to touch something infinite with our material forms? What is the resonance between the bodies we inhabit and the forms we create?
“I am always hoping my music will move its audience,” jazz composer Jason Moran said of this collaboration with Alonzo King LINES Ballet. Refraction marked the first time Moran had composed for dance, and he confided that his first experience watching Alonzo King and the LINES dancers in the studio was “a breakthrough—I wasn’t ready for what I witnessed.” Named “the most provocative thinker in current jazz” by Rolling Stone, Jason Moran is both steeped in the traditions of jazz and committed to pushing its boundaries. Refraction unites Moran and King as they open up new avenues for jazz and ballet as art forms—and create a vivid new dialogue between those forms. Voice of Dance described this piece as bringing together “an astonishingly flexible and fearless team of dancers, arresting choices of music, an intense, brooding atmosphere, and a movement style that begins with a ballet base, subjects the body to all manner of non-balletic flourishes, yet ultimately remains faithful to a classical ideal.”
“Like so many dances by the celebrated choreographer Alonzo King, Dust and Light resembles poetry in motion,” the Boston Globe proclaims. In a landscape that shifts like the clouds, dappling the stage with soft light and then bathing the dancers in silvery radiance, Alonzo King brings out the emotional intimacy of dance. The LINES Ballet dancers move in harmonious counterpoint to each other, setting off the rich variations of Arcangelo Corelli’s Baroque music against Francis Poulenc’s otherworldly sacred choral odes. Each body is replete with radiant potential, as if the stage were filled with a dozen moons—or perhaps with a dozen suns, since, as Alonzo King says, “a tendu isn't just the straightening of the leg but a ray of light radiating from the sun.” As the duets and trios of dancers culminate in an exuberant ensemble, the intimacy of the piece expands and opens outwards, immersing the audience in luminous grace.
Rasa, a deeply evocative and shimmering piece, set to an original score by tabla virtuoso Zakir Hussain, which was called “an intriguing wonder” by the New York Times. Zakir Hussain’s mastery of classical Indian percussion and unique vision of world music have brought him worldwide renown, including a Grammy nomination, and his collaborations with Alonzo King renew classical forms in an entirely innovative way. Tabla music began as dancing music, in Northern Indian courts in the early 1700s, and its hypnotic intensity and complex rhythms convey the strong feeling that they are meant to move the body. Rasa is thus both a continuation of a deep tradition--the interdependence of dance and tabla music as art forms--and an expression of the contemporary global vision of both artists.