In His Words: Voices of Fatherhood

A multimedia work emerging from The Street’s Early Phase program, In His Words sets words to half a dozen riffs interspersed between on-screen fragments of interviews with nine fathers. It was certainly a refreshing change to see explicit appreciation for the value of fatherhood.

In the main these interviews were interesting in their focus on father–child relationships, including the interviewees’ relationships with their own fathers and how those had shaped them as men and fathers, and the variety of views, life experiences, and feelings they brought to the topic.  Much of it felt emotionally truthful, and although the show could have been considerably shortened in total to advantage, it could also have been enhanced by deeper discussion about the actual relationships these fathers have with their children and their perceptions of their children’s feeling about them as dads. In terms of visuals, the show was beautifully balanced, with subdued lighting on the musicians creating a warm feel and at no time overpowering the screen.  Footage of family life nicely complemented the interviews, illustrating a joint activity such as cooking or wrestling or trampoline play but, in confining itself to revisiting the same narrow set of physical interactions, fell short of illustrating the relationships as the interviewees described them.

The musical riffs themselves were somewhat basic, lacking melody and forcing jazz harmonies into being that scotched emotion, and were overused to the point of dreariness.  The band’s musical constructions on them, though, were excellent: tightly interactive and rhythmically confident, with every member of the band obviously capable of counting beats without anticipating.  Special mention must go to James Hauptmann on drums and to Ben Hauptmann on guitars: the former for his creativity and precision; the latter for bringing, especially through tasteful lead guitar, musical life to pieces that otherwise could have sounded interminably dull.

Audio balance was generally excellent, though at times the sound of the double-bass was muddy and, when the riffs became more rock than jazz, the overall sound pressure became stupidly high without good reason.

The show offered hints of Pink Floyd, Rick Wakeman, and Emerson Lake & Palmer, in style rather than in substance.  Far greater variety in musical styles would have helped overcome the sameness of the sound throughout; in that regard, the aforementioned musical masters may have much to offer Creswick.  But the greatest potential for taking the music to new heights probably lies in creating more-musical melodies.

I think it’s likely that, with musical development and maturity, Creswick will develop his authentic musical creativity and his ability to connect emotionally with his audience.  In His Words: Voices of Fatherhood certainly suggests such potential.  If while that happens the ensemble can maintain its cohesiveness, along with such great lighting and audio support as In His Words: Voices of Fatherhood enjoyed, then magic may emerge from the ensemble’s considerable individual talents.

John P. Harvey

Images: Creswick Collective