In the vein of the popular online meme White Girl Problems, which is concept of privileged and first-world whining and entitlement, not limited to white girls alone, I am going to gripe about the most superficial but no less significant inconvenience caused by the turmoil and tumult that was Hurricane Sandy: the cancellation of the free Gonzales piano concert at Lincoln Center. Scheduled for yesterday evening, the much anticipated, for me at least, event has been indefinitely postponed, for obvious reasons; inclement weather has passed, but the havoc of power outages and flooded public transportation will haunt the great city for weeks to come. According to the Lincoln Center calendar, the organizers of the free Thursday evening programs will try earnestly to set another date; I will watch like a hawk for any announcements, and hopefully, if all comes to fruition, no tornadoes or earthquakes or other natural calamities will deter me.
For years, Gonzales' first solo piano album has been a sort of meditative refuge; simply complex, it blends with any mood, any environment, any occasion. No matter how many times I play the entire album, I never grow tired of any of the languid yet energetic songs, never grow tired of the easy and familiar flow from one to the next. Recently, the acclaimed musician and artist released his second solo piano album; I was elated. Similar to the first, this second piano album features seemingly effortless melodies, exercises reminiscent of a perfect and satisfying geometry, cyclic and smooth, rising and falling, repeating in even and comforting tones. I listen to this work incessantly as well, when I am cleaning, while I am reading, when I am frustrated and want some solace, some soothing.
I was prepared to don my rubber Ralph Lauren rain boots and stroll into the city to Lincoln Center, at least in spirit, to get to this concert. Hopefully, the opportunity to see this incredible performer live will return soon.
(image taken from Berlin Battery)