Elsinore Theatre

The featured work is Concertango by Spanish composer Luis Serrano Alarcón, highlighting solo alto saxophone with a rhythm section. Our guests are Randy Kem, saxophone: Jof Lee, piano: Tim Gilson, bass: Mike Snyder, drums. The work is a wonderful fusion of flamenco, tango and jazz. The concert will also feature Scent, a US premiere of a new concerto for soprano clarinet by Saül Gómez Soler. Kevin Vaughn is our Eb clarinet soloist. Scent explores and musically depicts aromas that influence our lives including fresh herbs, smoke in the city, a flower garden, and bitter coffee. Joaquin Rodrigo’s Per la Flor del Lliri Blau illustrates a tragic folk tale from Valencia in dramatic and beautiful melodies. Danzon No.2 by Mexican composer Arturo Márquez brings the concert to a rousing close.

NOTE: Salem Symphonic Winds requires that all attendees provide proof of vaccination and appropriate identification to attend concerts. Patrons unable to be vaccinated, including children, will be required to show proof of a validated negative COVID-19 test taken within 48 hours prior to event attendance. Properly worn protective masks covering the nose, mouth and chin are required while in the Elsinore Theatre. Please use appropriate social distancing while at concerts.

Musicians are all vaccinated and will wear masks when not playing to ensure the safety of everyone in attendance.

We’re celebrating the Elsinore’s 96th Anniversary with a benefit concert featuring Pink Martini!
“Pink Martini is a rollicking around-the-world musical adventure… if the United Nations had a house band in 1962, hopefully, we’d be that band.” – Thomas Lauderdale, bandleader/pianist

In 1994 in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-in-training, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from all over the world – crossing genres of classical, jazz and old-fashioned pop – and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks.

One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs together. Their first song “Sympathique (Je ne veux pas travailler)” became an overnight sensation in France, was nominated for “Song of the Year” at France’s Victoires de la Musique Awards, and to this day remains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America… the America which remains the most heterogeneously populated country in the world… composed of people of every country, every language, every religion.”

Featuring a dozen musicians, with songs in 25 languages, Pink Martini performs its multilingual repertoire on concert stages on six continents. After making its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra, and the BBC Concert Orchestra at Royal Albert Hall in London. In 2014, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.

Pink Martini has released 11 studio albums on its own independent label Heinz Records (named after Lauderdale’s dog), selling over 3 million albums worldwide. In 2019, the band released two EPs featuring the vocals of Pink Martini’s newest members Jimmie Herrod and Edna Vazquez. Both vocalists have toured with the band for the past year and are officially part of the group with the release of Herrod’s EP Tomorrow and Vaquez’s Besame Mucho, both of which were co-produced by Thomas Lauderdale and China Forbes.

Sor Tequila es una película de comedia mexicana de 1977 dirigida por Rogelio A. González y protagonizada por María Elena Velasco.
Sor María Nicolasa, una monja indígena apodada “Sor Tequila”, parece meterse en situaciones divertidas mientras viaja ayudando a la gente.

Para boletos llame al 503-375-3574

Spanish Movie Series: Sor Tequila (1977)

Sor Tequila is a 1977 Mexican comedy film directed by Rogelio A. González and starring María Elena Velasco.
Sor María Nicolasa, an indigenous nun nicknamed “Sor Tequila,” seems to get herself in funny situations while she travels around helping people.

“The Beacons” celebrate people who have shown excellence and leadership through high school athletics. Some have actually participated in S-K athletics, some have coached and/or administered, and some have just made sure high school athletics in Salem-Keizer actually happen. Many have fulfilled all those roles. But each of our Beacons are people who have been role models for the rest of us, shining a light on the importance of high school athletics.

We also will celebrate the ‘best of the best’ of today’s high school athletes as we recognize the Athlete of the Year for each of the OSAA-sponsored sports offered in the Salem-Keizer School District. This brings together today’s athletes with those who have gone before. Today’s athletes get to see the shoulders upon which they now stand and those being honored as Beacons get to see a glimpse of the future.”

Joe Satriani had an admirably productive workingman’s holiday, forced time away from the road that ultimately produced his 19th studio album, The Elephants of Mars, as the final result.

The guitarist challenged himself to create a “new standard” for instrumental guitar albums to be measured against, one which would work from “a new platform of his own design,” as he terms it. “I want to show people that the instrumental guitar album can contain far more complexity of creative elements than I think people are using right now.”

Satriani and his touring band, all recording remotely in separate areas of the world during lockdown, answered that challenge in spades. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.

From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars offers up an album length journey that never dulls.

It’s one that, thanks to the pandemic and no constraints, truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”