Duluth News Tribune | By Jay Gabler | September 03, 2024 at 7:00 AM
Five string players and a clarinetist accompanied the Duluth musician, who explained to the audience how she uses software to build soundscapes, Thursday, Aug. 29, at the Depot.
DULUTH — This may have been the only city in America on Thursday, Aug. 29, where a musician could walk into a 19th-century train depot, pass a Pride reception hosted by the mayor, take the stage in a theater recently described to Jesse Eisenberg, perform original electronic music with the accompaniment of a live chamber ensemble arranged by a sitting city councilor, announce a raffle winner and cap it all off with a hug from her son.
The Duluth Symphony Orchestra’s Bridge Sessions lived up to their name with a set combining the talents of Shaunna Heckman, who stood stage left with a laptop and Ableton pad, and a chamber ensemble of six DSSO musicians. The five string players, and one clarinetist, were swept into the wash of Heckman’s densely layered compositions.
“This is probably one of the most unique pairings we’ve had, because we have not gone in the technology direction,” said DSSO concertmaster Erin Aldridge, welcoming Heckman to the stage. Aldridge got into the spirit of the collaboration, deploying her own effects pedals when she stepped forward to solo with Heckman.
“I really like ethereal, atmospheric sounds,” said Heckman between songs, “and every time that I sit down to write a piece, I am always wanting strings.”
The Duluth musician said she had been hoping for several years to join a Bridge Session. Her Thursday night set marked the conclusion of the DSSO’s summer crossover series, which included earlier collaborations with Boss Mama & the Jebberhooch (Aug. 1) and Reflectivore (Aug. 15).
Boss Mama, or Colleen Myhre, was scheduled to play Thursday night on the deck of the William A. Irvin, but that event was canceled due to stormy weather. Fortunately for Heckman’s fans, it was dry and cozy in the Depot Theatre, where her set centered on new compositions peppered with past favorites like “Says Who,” from 2016’s “Spotlight” EP.
Heckman acknowledged that some DSSO regulars in the audience might not be familiar with how electronic music is made today.
“Some of you are probably like, ‘What is she actually doing up there?'” said Heckman, who proceeded to explain how she builds her tracks from layered elements including her own processed voice, then sings and plays live with the help of her input pad.
While most of the songs were Heckman’s, the show’s first half closed with a performance in which Heckman dropped a beat to accompany Aldridge’s performance of J.S. Bach’s sprightly “Gavotte en rondeau” from the “Violin Partita No. 3.”
“I can’t help (wonder) what Bach would do if he had access to all of this,” said Aldridge, gesturing toward Heckman’s setup.
Aldridge made a point of crediting composer Wendy Durrwachter, who also represents District 1 on the Duluth City Council, for writing the arrangements that brought the DSSO players into Heckman’s songs.
Heckman may not dream of winds as often as strings, but clarinetist Ted Schoen brought a spine-tingling element to songs like “Outside the Lines,” originally a collaboration between Heckman and British producer Phaeleh.
“I discovered that Ted, the clarinet player, was my music professor 24 years ago,” Heckman said with a laugh.
Before playing a new song called “Up All Night,” Heckman — who has taught numerous local kids through the We Make Noise (formerly known as Beats By Girlz) program — told a story about how she’s been hoping her son Oliver would develop an interest in making beats like his mom. Instead, she recounted, Oliver volunteered a short vocalization that Heckman incorporated into the warm song.
Oliver returned the warmth, taking the stage with flowers and a hug for Heckman at the set’s conclusion. Before playing her final song, Heckman thanked the audience and the DSSO.
“You are all incredible players,” she said, “and I feel lucky to have had this experience with you.”
