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John Tesh, television/radio personality and musician, and his band presented a well-rehearsed and well-received performance at the United Methodist Church of the Resurrection last Friday. This was the first performance in the Kansas City Symphony’s 2010 –11 POPS Series, under the direction of Associate Conductor Steven Jarvi. I don’t think anyone who bought a ticket for this performance could have been disappointed. Popular by way of his PBS performances and radio show, Tesh certainly knows how to connect with a large audience and thus presented a polished, passionate performance.

The concert began with two selections performed by the KC Symphony: a suite from Danny Elfman's Spider-Man score and “Across the Stars,” the love theme from Star Wars: Episode II – Attack of the Clones, by John Williams. The orchestra may have sounded great. It was difficult to tell by the time the sound reached the audience. The strings were murky, with reverb adding a swimming effect to their sound. Individual microphones kept picking up small, distracting noises. Apparently, the sound engineer had an affinity for timbales and cymbals, as these timbres dominated the mix. The addition of video elements to this segment was unnecessary, as the camera kept cutting to orchestral sections during their moments of rest.

The symphony took a supporting role once Tesh was onstage. Primarily seated at the grand piano, he joked, told stories, and smoothly segued from one piece to the other. Even though he has performed this show hundreds of times, his repartee was fresh and spontaneous, though he often referred to his previous work on radio and television. Tesh’s ensemble of guitar, bass, and drums was a well-oiled machine, on-cue the entire time. However, while the music was enthusiastic and heavily melodic, there was hardly any development of the themes or harmonic contrast or any innovation whatsoever. The guitar player, who later demonstrated during the final piece that he did indeed have chops, kept coming to the front for solos that lasted maybe eight bars and consisted of simply playing the melody again, ad nauseum.

Since all the program notes were verbal, it was difficult to catch the title for every piece. One piece that stuck out was “Canta Domine.” Tesh has served as a worship leader and his performance, while not overtly proselytizing, had elements of a contemporary Christian service. He said that he had wanted to write a worship song that would “sneak up” on the listener. This particular piece, with female vocalist, sounded similar to a contemporary Christian song along the lines of Michael W. Smith or Steven Curtis Chapman. Another piece, “One World,” purportedly contained influences from Celtic, Spanish, and French music, amongst others. The only instances that sounded derived were the vaguely Spanish-style guitar-playing, the changing meter from 6/8 to 7/8, and the brief (yet tasteful) toreador fanfares from the trumpet.

The piece after intermission, “Throne Room and End Music” from Star Wars, was a better representation of the orchestra’s abilities, though it was still difficult to hear a distinguishable string section. There were also too many people trying to make the piece extra exciting from the blatty trombones (which distracted from the gorgeous trumpet timbre), the over-zealous sound engineer, and Jarvi’s extravagant conducting during delicate lines in the winds.

With a nod toward diversity, Tesh also brought on a hip-hop dancer, Breeze Lee. Lee performed a short hip-hop tutorial for the audience, showcasing fluid movement juxtaposed with popping and locking, then with the band in what Tesh called a “challenge.” He described it as an improvisatory exercise, though it was as equally polished as the rest of the show. This addition was far more culturally respectable than Tesh’s amusing, yet cringe-worthy, attempts at rapping.

Tesh took time in the latter half of the program to discuss his mission of volunteerism. Some of his crew have gone out at each stop on their tour and performed a service for someone in need in that community. The presentation by the group’s truck driver was touching. Tesh further referred to his website and radio program as venues for individuals to discuss their passions and personal missions. One of the examples he gave was his wife’s mission of giving flowers to elderly women at nursing homes. A montage of photographs from these visits accompanied the piece entitled “You’re not alone.”

Though not the most musically innovative evening, John Tesh’s affable presence made for an enjoyable performance. He seemed to be having the time of his life and thrilled to be performing with the Kansas City Symphony, constantly kvelling about their abilities. The biggest issue I had was the over-production of the show—the sound, the video, the lights—that was trying to compensate for what could have been fine if left alone.

I really wish he hadn’t attempted to rap.  Really, really wish.

REVIEW:
Kansas City Symphony POPS Series
John Tesh in Concert
Friday, September 17^th at 8 PM
United Methodist Church of the Resurrection
5001 W 137^th St. Leawood, KS
For more information go to www.kcsymphony.org or www.tesh.com .

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.