David Bowie, a visionary artist renowned for his ability to recognize and nurture talent, often startled musicians with unexpected collaborations.
One such musician is Gail Ann Dorsey, a versatile gig musician whose impressive resume includes working with bands like Tears for Fears and The National. Dorsey recalls how, back in 1995, she received a phone call from Bowie himself. He invited her to join his band for an upcoming concert tour with Nine Inch Nails, leaving her in a state of disbelief.
“I was in shock,” Dorsey said, describing the spontaneity of the phone call from the legendary artist. Over the next two decades, Dorsey collaborated with Bowie on three albums and several tours, further solidifying her place in the music industry.
Similarly, jazz saxophonist Donny McCaslin experienced a life-changing moment in 2014 when he met Bowie through composer Maria Schneider at a workshop for the song, “Sue (Or In A Season Of Crime).” McCaslin vividly recalls exchanging contact details with Bowie, who promptly reached out to him the very next morning. This encounter set McCaslin on a new artistic path, a journey inspired by Bowie’s innovative spirit.
Now, Dorsey and McCaslin are part of a tribute to Bowie’s final album, “Blackstar,” through the Blackstar Symphony. This homage includes a 65-piece orchestra, guided by McCaslin and featuring members of his jazz quartet, along with Dorsey. The concert setlist comprises the seven tracks from “Blackstar” and beloved classics from Bowie’s expansive career, such as “Space Oddity,” “Life on Mars,” and “Heroes.” The performance is enriched with anecdotes from McCaslin about the creation of the songs in the studio, adding a personal touch to the tribute.
The Blackstar Symphony will take the stage at Denver’s Boettcher Concert Hall in collaboration with the Colorado Symphony on Thursday, October 9. Tickets for the event start at $54.40.
In anticipation of the performance, Dorsey and McCaslin were interviewed about their experiences working with Bowie and their thoughts on the upcoming Blackstar Orchestra show.
When asked about her time collaborating with Bowie, Dorsey reflected on the unique experience it provided throughout her career. She emphasized the freedom and encouragement Bowie offered, which extended to everyone involved in his creative projects, not just musicians. According to Dorsey, Bowie chose collaborators based on what he perceived they could contribute to his artistic vision.
“He was more the kind of artist that tells you what he doesn’t like, not what he wants you to do,” Dorsey explained. This approach allowed for creative experimentation, enabling musicians to explore and develop their contributions to the music. She likened working with Bowie to being a color in his artistic palette, where every collaborator had a role in the greater picture he aimed to create.
Dorsey also mentioned Bowie’s aversion to repetition. “The only thing he was obsessive about was not being bored,” she laughed.
During their first tour together, the Outside Tour, Bowie made it clear he would not perform any of his major hits. Instead, they focused on deep cuts from his catalog, pushing the boundaries of what his established sound had been.
As for the relevance of revisiting “Blackstar” nearly a decade later, Dorsey noted that her experiences with the show have only deepened over time. “There are times I do my song, and by the time I’m off in the wings, I’m in tears,” she shared, indicating the emotional weight of performing Bowie’s final work.
Dorsey conveyed that it’s profoundly moving to consider Bowie creating this music during his last days. She believes he would be thrilled to witness the interpretation that has emerged from the Blackstar Symphony. Dorsey remarked how the arrangements honor Bowie’s original intent while integrating new elements that feel like they could have been written alongside the original compositions.
McCaslin explained how the Blackstar Symphony came to fruition during his work in Europe with the Metropole Orchestra. Seeking to arrange some of Bowie’s songs, McCaslin felt inspired to expand the concept into a grand, orchestral homage to “Blackstar,” which he found to be incredibly powerful.
He articulated the project’s vision as not merely replicating the original album but reimagining it through a more expansive lens. It highlights the essence of the music while exploring new interpretations.
During the performances, McCaslin also shares stories from the studio, giving audiences a rare glimpse behind the scenes. One notable moment includes the recording of “Sue (Or In a Season of Crime).” McCaslin describes how Bowie sang a scratch vocal, which ended up being the final take on the track.
“It was remarkable,” McCaslin said, recalling the spontaneity of Bowie’s performance. The emotional weight of the project has led many to speculate if “Blackstar” serves as a farewell note from Bowie. Even amidst speculation, McCaslin feels that multiple truths can coexist regarding the album’s meaning.
While some interpretations suggest it was a definitive goodbye, McCaslin reminds us that Bowie expressed a desire to continue creating music up until the end. He had discussed plans to write new material and record with McCaslin’s band just days before “Blackstar” was released.
As the conversation turned to future projects, McCaslin hinted at the existence of unreleased demos from the sessions. While he acknowledges that there may not be enough material for a complete album, he remains hopeful that some of Bowie’s unseen work could eventually be shared.
The Blackstar Symphony offers a chance to honor Bowie’s legacy while celebrating the ongoing influence of his music and artistry. With heartfelt performances and personal anecdotes, Dorsey, McCaslin, and their talented collaborators invite audiences to experience the creativity and impact of one of music’s most iconic figures.
image source from：cpr
