As autumn makes its way to New England, the Wellesley Symphony Orchestra (WSO) prepares to launch the first concert of its 78th season with a program designed to enchant listeners of all ages.

Titled “Magical Tales,” the opening performance takes place on Sunday, September 27, at 2pm, at MassBay Community College. The afternoon promises an immersive musical journey, featuring soloists Emmanuel Feldman, cello and Pascal Delache Feldman, bass.

The program opens with “Merlin”, a mysterious, magical piece by Italian composer Elisabett Brusa. Merlin, the legendary prophet, magician and spell maker, has wielded his literary magic through the centuries. Brusa uses colorful swathes of music, complex rhythms and a piercing continuous beat to depict the supernatural Merlin in this enchanting composition.

Following the opener, the Feldman/Delache-Feldman duo will perform one of the few solo pieces for double bass in the repertoire, Giovanni Bottesini’s “Gran Duo Concertante” for violin and double bass. Emmanuel Feldman will play the intricate violin part on his cello. The orchestra dedicates this piece in memory of Jan Schwaner, a long-time cellist in the WSO, member of the board, and a dear friend to many, who died suddenly on July 22nd.

After intermission, the orchestra turns to the legendary folklore of  The Arabian Nights through the brilliant music of Rimsky-Korsako’s “Scheherazade”. Rimsky-Korsakov, the Russian composer well-known for his brilliant orchestration, uses music to tell the story of the Sultan and his newlywed wife, Scheherazade. The beautiful and captivating music played by WSO’s wonderful concertmaster, Ainur Tulendiyeva, represents Scheherazade and her many tales.

The concert takes place at MassBay Community College, 50 Oakland Street, Wellesley, where there is plenty of free parking. Tickets are available on a “pay-what-you-can” system; the WSO suggests $30. They may be purchased online at www.wellesleysymphony.org or at the door.

There will be a reception for all after the concert—please join conductor Mark Latham and orchestra musicians for some cookies and cider.

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Indeed, the area’s recent love affair with the Scottish World Cup team and its Tartan Army plays into Haggis X-1’s current marketing.

Craig Downie, who contributes bagpipes, whistles, and vocals to Haggis X-1, is well aware of the Scottish sensation in the Boston area and said the team’s impact was felt in the town near Toronto where he lives, too. “There is a pub run by a Scottish couple.  I was there for Scotland’s win over Haiti.  The place was jumping.  Nothing but Scottish songs, jerseys, and camaraderie,” he said.

As for Haggis X-1, it follows in the footsteps of  Canadian group Enter the Haggis, which has performed numerous times at TCAN over the years. Enter the Haggis is still going, but has largely stopped touring.

The difference between the bands?

“Haggis X-1 is much more into musical exploration and experimentation than Enter the Haggis; especially in regard to our upcoming double album. One disc will be all original music, and the other will be our interpretation of Grateful Dead songs.  Haggis X-1 is an all-encompassing, full-time project,” says Downie, one of three Enter the Haggis veterans among Haggis X-1’s members (Trevor Lewington is on vocals and guitar, and Tom Barraco handles the drums).

For those who still haven’t embraced the bagpipes regardless of the Tartan Army’s appeal, I asked Downie what those folks might be missing.

“Earplugs,” he replied.

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Jones was the last to join the stage. After some suspense, he was introduced as the “Honorary, Legendary, Doctor Booker T.  Jones.” The band then went right into opening with “Hang ‘em High,” taken from the 1968 Western film of the same name. When the song had finished, Jones jokingly called it “cinematic,” owing to the song’s origin. His words may have been in jest, but he was right. It was a cinematic opening indeed, stretched well beyond the original’s length and accompanied by lights, with a climactic crescendo that drew the audience in and set a strong tone for the evening. 

They followed with “Soul Dressing,” a song that showcased one of the evening’s recurring strengths. The defining feature of this song was the brief exchanges between the drums and other instruments on stage. One instrument would rise above the others, then another, and then they would settle back into a satisfying harmony. These exchanges would become a recurring element and add a new layer to some familiar tunes. However, the musical prowess of a Rock n’ Roll Hall of Fame inductee like Jones likely goes without saying. Instead, I found his seamless movement between story and song to be the most interesting. He didn’t talk extensively, just enough to add some color and contextualize each song. He spoke of his time in Memphis, being invited to the studio when he was in just 10th grade, and his interactions with Albert King. These anecdotes flowed naturally into the blues classic, “Born Under a Bad Sign.” Jones, along with William Bell, had worked on the song with King when he came to Memphis.

Jones maintained this pattern, adding a short note before almost every song. This, combined with the change in lights, gave a unique identity to each. Together, they gave the evening a distinct character. As Jones recalled his life and career, the night took on a nostalgic quality. For a musician with so many years in the industry, playing to a small, intimate audience, that meditative quality fit well. When he talked about listening to music in the back of his father’s ‘49 Ford or moving from Memphis to California, he took the audience with him. Each song was a vignette. I particularly enjoyed hearing how Bob Dylan had borrowed Jones’s broken tape recorder. According to Jones, “he liked the sound.” For Dylan fans, that will sound on point. This all culminated neatly in a cover of “Knockin’ on Heaven’s Door.” 

After a few more covers and songs of his own, the band eventually reached “Green Onions.” This” is a must-have for a Booker T. Jones concert, and it was delivered well here, but strangely, I was much more interested in the two songs that came after. Following a standing ovation for “Green Onions,” the band went into “Time is Tight.” It was by far the highlight of the night. The song began soft and ethereal, but gradually gained speed and definition. No one wanted it to end, and by all accounts, neither did the band. It was easily the longest performance of the evening.

Jones followed this up with “I’ve Been Loving You Too Long,” turning the song into a tribute to his wife. When the song finished, he said, “There’s a woman sitting out there who I’ve been married to for 41 years.” Just when the audience thought the show had reached its end, the band finished with “Everything is Everything.”

The audience’s reaction largely mirrored my own assessment. Jones more than met expectations. The audience was almost exclusively long-term fans, including one who went to their first Booker T. and the MGs concert in 1971 and had been returning ever since. Another had been introduced to Booker T. Jones when he bought a keyboard in high school that came with “Green Onions” built in. There was also a smaller subset of young fans as well, including an aspiring keyboardist. However, all of them shared a deep appreciation for the music. Some were dressed up enough to be part of the band. Others just closed their eyes and listened.

What became clear throughout the evening was Jones’s self-awareness. He didn’t revisit the past merely for nostalgia’s sake. He wasn’t trying to relive the glory days. He told stories. He knew his audience well and understood that at 81 years old, with a strong reputation, he has nothing left to prove. The performance was confident, relaxed, and personal. In 90 minutes, he gave the audience a brief look at his 66 years in music. 

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