Images Arizona (May 2023)

AMY LAY

Feisty, oil. 20” by 20”

SUE KRZYSTON

“Quiet Reflections” by Sue Krzyston, 24” by 30”

AMY LAY

Hummingbirds and Bear, oil. 60” by 20”

SUE KRZYSTON SOUTHWEST REALISM ARTIST

AMY LAY CONTEMPORARY WILDLIFE ARTIST

BRYCE PETTIT WILDLIFE BRONZE SCULPTOR

TREVOR SWANSON LANDSCAPE AND WILDLIFE ARTIST

Meet Artist Amy Lay, Trevor Swanson and Sue Krzyston

THIRD

THURSDAY, MAY 18 FROM 4 TO 7 PM

Sip, Shop and Celebrate with Live Music by NuWrld Jazz Quartet

What's

S ANDERSON LINCOLN S ANDERSON LINCOLN

From the Publisher

Publisher

Shelly Spence

Managing Editor

Joseph J. Airdo

Graphic Designer

Meaghan Mitchell

Contributing Writers

Joseph J. Airdo

Amanda Christmann

Francine Coles

Rebecca L. Rhoades

Shannon Severson

Photographers

Francine Coles

Loralei Lazurek

Carl Schultz

Advertising Sales

Cindi Calcinari

860-966-3271

cindi@imagesaz.com

Images Arizona

P.O. Box 1416

Carefree, AZ. 85377

623-341-8221

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There have been countless incredibly insightful things said about music over the years, many of which originate from the artists themselves:

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind, but which mankind cannot comprehend.” —Ludwig van Beethoven

“I think music in itself is healing. It's an explosive expression of humanity. It's something we are all touched by. No matter what culture we're from, everyone loves music.” —Billy Joel

“Music doesn't lie. If there is something to be changed in this world, then it can only happen through music.” —Jimi Hendrix

“One good thing about music, when it hits you, you feel no pain.”

—Bob Marley

“People haven't always been there for me, but music always has.”

—Taylor Swift

From classical composers to the most popular performers of today, these exceptionally talented individuals tap into a piece of the human spirit that we may otherwise never be able to experience. They have found an emotionally resonant and thoughtfully profound way to touch our hearts and speak to our souls.

This issue of Images Arizona is devoted to the many instances of how music impacts our lives here in our own communities. From a feature about the lead conservator who is responsible for overseeing, maintaining and repairing the more than 13,000 instruments and objects at the Musical Instrument Museum to stories about the people to make music and even the instruments themselves, we have packed these pages with noteworthy content that I hope encourages you to appreciate and hear music in a new light.

Cheers!

Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com

623-341-8221

TPhotography by Loralei Lazurek

Earlier this year, Chandler resident Ron Sill embarked on a postwork hike on Massacre Grounds Trail in Apache Junction, arriving there about an hour before sunset.

“I had hoped to get Four Peaks in the blanket of snow, so I hiked up toward Praying Hands to get a better elevation view but the top of Four Peaks stayed shrouded in clouds,” Sill says. “On my way up, I noticed this field of flowers. So when it was apparent that Four Peaks was not going to show the peaks, I headed back down to this spot.

“There was a thick bank of clouds overhead, but there was a gap in the clouds at the horizon. The sun was setting, so I was sure that the light would peek through briefly before the sun fully set. The plan was to get to this point in the image before that happened with the hope that the underside of the clouds would pop with color — which didn’t happen, but I got this shot instead.”

flickr.com/photos/ronsill instagram.com/ronaldsill facebook.com/ronald.r.sill

Photo by Ron Sill

BBritish composer Sir Stephen Hough once said, “Few occupations pass the solitary hours more fruitfully than the playing of a musical instrument.” The same could be said about restoring them. Just ask Rodrigo Correa-Salas, who spends his days surrounded by instruments.

“Every day is something different, and every day is a learning process,” he says. “It’s magic.”

Correa-Salas is the conservator at the Musical Instrument Museum in Phoenix. He is responsible for cleaning, repairing, restoring and getting ready for display every instrument and associated artifact that is brought into the museum.

And thanks to an ever-expanding permanent collection of more than 13,000 instruments and objects — spanning thousands of years and about 190 countries — and a regular rotation of temporary exhibits, each day offers new challenges, new surprises — and plenty of joyful satisfaction.

From checking the instrument into the Musical Instrument Museum’s system to cleaning and repairing it, from photographing the restored piece for archival purposes and even assisting the curators in the proper display of each piece, Rodrigo Correa-Salas is there throughout the entire process.

Writer Rebecca L. Rhoades // Photography by Loralei Lazurek

BEHIND THE SCENES

It’s a random afternoon in March, and Correa-Salas is busy in the museum’s conservation lab. The bright, airy workshop is located on the ground floor of the MIM, directly across from the Experience Gallery. A large picture window offers inquisitive patrons a peek into the restoration process.

Tabletops are lined with an assortment of rare and unusual instruments. An 1800s violin and a 17th-century viola share space with a 1920s Indian sarinda (lute) and a shiny metal saxophone-shaped Italian rothophone from 1900. A mid-19th-century drum from the Congolese Batetela people rests on its side as a recent mend to its animal skin drumhead cures. Nearby, a 1680s German viola de gamba, 18thcentury sarinda and 19th-century Chinese mouth organ wait in various states of repair.

And at the front of the room, Correa-Salas sits at his workbench. Before him is an 1810 tastengitarre, or keyed guitar. Similar in size and shape to an early 19th-century German guitar, it also features a piano hammer mechanism. On this day, Correa-Salas has removed the keys and, with the delicate precision of a surgeon, is cleaning them with tweezers, steel picks and tiny brushes.

“Rodrigo is expected to work with a staggering diversity of objects, and therefore an equally staggering range of conservation challenges,” says Rich Walter, MIM curator for USA/Canada. “He had a specialized set of skills even before coming to the MIM, and through exposure to countless objects from around the world, he became familiar with woods, animal skins, metals, adhesives, pigments, textiles and natural fibers, and all the different ways of securing those materials together to make functional instruments.”

Every day is something different, and every day is a learning process. It’s magic.

Rodrigo Correa-Salas

Rodrigo CorreaSalas estimates that since arriving in Phoenix, he’s worked on about 50% of the Musical Instrument Museum’s collection.

TRUE CALLING

It’s almost as though Correa-Salas was predestined for the position of curator.

“I always loved to see how things work and to fix them,” he says. “I’ve been disassembling and assembling things all my life.”

Correa-Salas was born in Santiago, Chile, into a family of musicians and artists. His grandfather was an orchestra conductor, and his mother danced professionally. And his two brothers were a visual artist and a musician, respectively.

When Correa-Salas was 6, his mother moved him and his brothers to Venezuela, and when he was 17, the family relocated to Puerto Rico. It was here that he first began playing the cello, and within a year, he was accepted into the Puerto Rico Conservatory of Music, where he initially studied cello performance but later switched to music education.

After graduating, Correa-Salas moved to Bloomington, Indiana, to attend Indiana University.

“My brother was getting his master’s degree in piano performance there, and he told me about a degree in violin making,” he recalls. “It was great because it combined music, sound, making things and restoring things. And because the university is such an important music school, I had the opportunity to have a lot of important instruments around me.”

In 2000, he returned to Puerto Rico and opened a Montessori preschool with his mother. They converted

their house into the school, and Correa-Salas taught music classes and ran a violin repair shop.

Eight years later, he closed the school. It was about this time that he was appointed the custodian of the cello of the legendary Puerto Rican cellist Pablo Casals. He also became the official luthier of the Casals Festival, an annual classical music festival founded in honor of the renowned musician.

“I was traveling to a lot of different places — Europe, Central America, the United States, and working with different orchestras, musicians and even a few museums,” Correa-Salas says. “It was a learning process with different types of instruments and companies.”

Similar stints in Chile and Panama followed. And then, in 2017, Correa-Salas received a call from Manuel Jordán, deputy director and chief curator at the MIM.

“He knew of my work at the Pablo Casals Museum,” Correa-Salas says. “He invited me to come to Phoenix, of course knowing that I was going to love the place. When I saw the museum, it was ‘wow!’ I could not say no.”

PART OF THE MAGIC

For the past six years, Correa-Salas has played an integral role in each step of an instrument’s journey through the museum. From checking the instrument into the museum’s system to cleaning and repairing it, from photographing the restored piece for archival purposes and even assisting the curators in the proper display of each piece, he is there throughout the entire process.

“Having a talented and reliable conservator is invaluable to any museum,” Walter says. “The curatorial and exhibits teams constantly consult with Rodrigo as we are evaluating objects for display, observing their condition over time, and in many cases, in advance of making final decisions about acquisitions.

“When we have historic instruments that need minor repairs, or perhaps a specialized part to help make them complete, Rodrigo can make the difference between our ability to feature certain objects in an exhibit or not.”

Every day, Rodrigo Correa-Salas tours MIM’s exhibitions to gaze over the 5,000 or so that are on display, checking if they need polishing, repairs or additional upkeep.

Instruments can take months, even years, to repair. Correa-Salas points to the 18th-century sarinda, which he slowly has been bringing back to life.

“I have to make the tuning pegs and the bridge,” he explains. “I’ve made little sketches, and I’ve already prepared the wood. I’m trying to copy the same kind of materials that originally would have been used.”

Another instrument that required Correa-Salas’ specialized skills is a rare circa-1870 Indian swarabat. The stringed lute instrument is one of only five in existence, so finding information was especially challenging.

“I had to make a lot of things for this instrument, [including the bridge, tuning pegs and camel-bone details],” Correa-Salas says.

He also repaired the peacock-shaped pegbox, added strings and touched up the painted flowers on the body.

“So many times, I have to make parts because we can’t just buy them if the instrument is really old,” he adds. “But that’s what’s fascinating about my job.”

Correa-Salas estimates that since arriving in Phoenix, he’s worked on about 50% of the museum’s collection. And every day, he tours the exhibitions to gaze over the 5,000 instruments or so that are on display. He checks if they need polishing, repairs or additional upkeep. Humidity, dust and overzealous touchy-feely museum visitors keep him on his toes.

As he stands in the Middle East Gallery, he reaches out to adjust the display angle of the swarabat. It’s one of his favorite pieces. He reflects on the precious instrument’s 150-year-old narrative — one that now includes him.

“Each instrument has some kind of magic,” he says with a smile. “And when I do something to an instrument, I become part of its history. It’s a really intense experience.”

mim.org

COMMUNITY

Through May 14

‘A CHORUS LINE’

Writer Joseph J. Airdo

May 2023

The Phoenix Theatre Company presents its production of “A Chorus Line.” See website for price and times. The Phoenix Theatre Company, 1825 N. Central Ave., Phoenix. 602-254-2151; phoenixtheatre.com

Through May 14

‘THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME’

Fountain Hills Theater presents its production of “‘The Curious Incident of the Dog in the Night-time.” See website for price and times. Fountain Hills Theater, 11445 N. Saguaro Blvd., Fountain Hills. 480-837-9661; fhtaz.org

Through May 14

‘SIDEKICKED’

Scottsdale Desert Stages Theatre presents its production of “Sidekicked,” based on the classic television sitcom “I Love Lucy.” See website for price and times. Scottsdale Desert Stages Theatre at Fashion Square, 7014 E. Camelback Road, Suite 0586, Scottsdale. 480-483-1664; desertstages.org

Through June 30

‘DIVERSION: RECYCLED TEXTILES TO ART’

Through June 30

SUBSTANCE OF STARS:

MEDITATIONS AND EXPLORATIONS

Heard Museum hosts a pop-up exhibition in partnership with Amangiri — one of the world's finest resorts resting on 900 pristine acres on the border of Utah and Arizona. The exhibition showcases the work of acclaimed artist and filmmaker Steven J. Yazzie (Diné), who grew up not far from the resort in Page. Yazzie draws upon the themes of earth and sky to explore his ancestral landscapes through visually stunning, stimulating and calming videos and photographs. See website for price. 10 a.m.–4 p.m. Heard Museum, 2301 N. Central Ave., Phoenix. heard.org

Scottsdale Public Art draws attention to the worldwide environmental crisis caused by textile waste with its new exhibition, “Diversion: Recycled Textiles to Art,” which showcases pieces from Arizona-based artists who have created artworks from old, self-sourced clothing and castoff textiles as their major components. These artworks carry their own independent messages while saving a small portion of garment waste from entering landfills. Free. See website for hours. Civic Center Public Gallery at Scottsdale Civic Center Library, 3839 N. Drinkwater Blvd., Scottsdale. scottsdalepublicart.org

May 2 and 7

‘SONGS FROM HOME’

Orpheus Male Chorus of Phoenix will perform a concert that includes “Battle Hymn of the Republic,” “Will the Circle Be Unbroken,” “Rocky Top,” “Bring Him Home” and “Shenandoah.” $25; youth, student and senior discounts available. See website for times and locations. orpheus.org

May 4–7

‘ALL BALANCHINE’

Ballet Arizona will perform three ballets by George Balanchine — “Raymonda Variations,” “Emeralds” and “The Four Temperaments.” See website for price and times. Orpheum Theatre, 203 W. Adams St., Phoenix. balletaz.org

May 5–June 3

‘DIRTY ROTTEN SCOUNDRELS’

Arizona Broadway Theatre presents its production of “Dirty Rotten Scoundrels.” See website for price and times. Arizona Broadway Theatre, 7701 W. Paradise Lane, Peoria. 623-7768400; azbroadway.org

May 5–7

‘SOUNDTRACK’

The Phoenix Chorale will perform a concert that traces a history through 500 years of song, exploring how composers throughout the ages have used music to help explain everyday life, love and loss. See website for price, times and locations. 602-253-2224; phoenixchorale.org

May 5–14

‘FREAKY FRIDAY: THE MUSICAL — ONE-ACT EDITION’

Scottsdale Desert Stages Theatre will present its production of “Freaky Friday: The Musical” See website for price and times. Scottsdale Desert Stages Theatre at Fashion Square, 7014 E. Camelback Road, Suite 0586, Scottsdale. 480-4831664; desertstages.org

May 6

KENTUCKY DERBY PARTY

Holland Community Center will host a Kentucky Derby party during which attendees can enjoy the annual event on the big screen. The celebration will also feature a buffet and desserts provided by local restaurants, a hat contest, bourbon tastings and mint juleps. $50. 2 p.m. Holland Community Center, 34250 N. 60th St., Scottsdale. 480-488-1090; hollandcenter.org

May 6 and 7

MUSICA SIN FRONTERAS

MusicaNova Orchestra and Harmony Project Phoenix will collaborate for a concert featuring the music of Latin American composers. Proceeds will help defray travel expenses for the Hermosillo Children’s Choir and fund scholarships for Harmony Project Phoenix. $10. Saturday 7 p.m. at South Mountain Community College, 7050 S. 24th St., Phoenix. Sunday 3 p.m. at Central Methodist Church, 1875 N. Central Ave., Phoenix. musicanova.org

May 7

‘A BOUQUET OF FLOWERS’

Sonoran Desert Chorale will perform a concert that, acknowledging our world and our lives are enriched by the glory of flowers, will embody a bouquet of flowers in song — bright, colorful and full of promise and delight. $25; student, senior and group discounts available. 3 p.m. La Casa de Cristo Lutheran Church, 6300 E. Bell Road, Scottsdale. sonorandesertchorale.org

COMMUNITY

May 8

KIWANIS SCHOLARSHIP CEREMONY

Writer Joseph J. Airdo

May 2023

Kiwanis of Carefree will award more than $450,000 in college and trade school scholarships to 35+ deserving local high school seniors during a special ceremony. Free. 6 p.m. Cactus Shadows Fine Arts Center, 33606 N. 60th St., Scottsdale. kiwaniscarefree.org

May 12 and 14

PBC PLAYLIST: 75 YEARS OF SONG

The Phoenix Boys Choir will mark the culmination of its 75th anniversary year with a concert that pays homage to the legacies of former artistic directors Harvey K. Smith and Georg Stangelberger, as well as showcase its new vision and energy under current artistic director Herbert Washington. $25+; student discounts available. Friday 7 p.m. at Mesa Arts Center, One E. Main St., Mesa. Sunday 1 pm at Orpheum Theatre, 203 W. Adams St., Phoenix. boyschoir.org

May 13

SONGS FOR WWII FOR MOTHER’S DAY

Carolyn Eynon Singers will welcome concert pianist Garik Pedersen for a presentation of his “Steinway Victory Vertical Piano Project” during a special event that will also feature several hits of WWII. $25; youth and group discounts available; veterans admitted free. 3 p.m. Ascension Lutheran Church, 7100 N. Mockingbird Lane, Paradise Valley. carolynsynonsingers.com

May 13

SONGS FOR WWII FOR MOTHER’S DAY

Carolyn Eynon Singers will welcome concert pianist Garik Pedersen for a presentation of his “Steinway Victory Vertical Piano Project” during a special event that will also feature several hits of WWII. $25; youth and group discounts available; veterans admitted free. 3 p.m. Ascension Lutheran Church, 7100 N. Mockingbird Lane, Paradise Valley. carolyneynonsingers.com

May 13

STARS 50TH ANNIVERSARY FIESTA

STARS, a nonprofit organization that serves individuals with developmental and cognitive disabilities, will host a special celebration featuring live music and reflections on its 50-year history. See website for price. 6 p.m. JW Marriott Scottsdale Camelback Inn Resort & Spa, 5402 E. Lincoln Drive, Scottsdale. starsaz.org/fiesta

May 13 and 14

EXPERIENCE THE CARIBBEAN

The Musical Instrument Museum will celebrate the music and culture of the Caribbean. See website for schedule of events. $20; youth discounts available. 9 a.m.–5 p.m. The Musical Instrument Museum, 4725 E. Mayo Blvd. Phoenix. 480-478-6000; mim.org

May 16

THE WILD WEST

Holland Community Center will welcome Jim Sherbert for a lecture about the life and times of the American cowboy. $10. 4 p.m. Holland Community Center, 34250 N. 60th St., Scottsdale. 480-488-1090; hollandcenter.org

COMMUNITY

May 16–June 3

AN EVENING AT DESERT BOTANICAL GARDEN

Writer Joseph J. Airdo

May 2023

Surrounded by the matchless desert landscape with the setting sun as a backdrop, Ballet Arizona choreographer Ib Andersen will challenge the boundaries of contemporary ballet. See website for prices. Tuesdays–Saturdays 8 p.m. Desert Botanical Garden, 1201 N. Galvin Parkway, Phoenix. balletaz.org

May 18

CAREFREE ART NIGHT

Galleries throughout Carefree will host an event that offers art enthusiasts an opportunity to enjoy live music and refreshments as they stroll through the breathtaking shadows of Black Mountain in search of their next masterpiece. Free. 4–7 p.m. See website for participating galleries. visitcarefree.com

May 18–July 8

‘BEN BUTLER’

Don Bluth Front Row Theater will present its production of “Ben Butler.” $30; youth, student, senior, military and group discounts available. See website for times. Don Bluth Front Row Theater, 8989 E. Via Linda, Suite 118, Scottsdale. 480-314-0841; donbluthfrontrowtheatre.com

May 18–21

‘MUCH ADO ABOUT NOTHING’

Southwest Shakespeare will present its production of “Much Ado About Nothing.” $35+; youth, student and teacher discounts available. See website for times. Taliesin West, 12621 N. Frank Lloyd Wright Blvd., Scottsdale. swshakespeare.org

May 18

ARTIST MARTIN BLUNDELL

Escape into a collection of captivating contemporary landscape paintings characterized by vibrant color and a focus on composition and design during a special artist reception for Martin Blundell, whose art is executed with impasto brushwork and pallet knife application of oil paint. Wine and appetizers will be offered. 4–7 p.m. Grace Renee Gallery, 7212 E. Ho Road, Carefree. 480-575-8080; gracereneegallery.com

May 19–June 4

‘THE GREAT AMERICAN TRAILER PARK MUSICAL’

Fountain Hills Theater will present its production of “‘The Great American Trailer Park Musical.” See website for price and times. Fountain Hills Theater, 11445 N. Saguaro Blvd., Fountain Hills. 480-837-9661; fhtaz.org

May 19–28

SPRING RESTAURANT WEEK

The Arizona Restaurant Association will host a 10-day period of culinary discovery during which diners can explore the cuisine of a multitude of restaurants at a fraction of the cost. Participating restaurants will offer a three-course prix-fixe menu that highlights limitedavailability or hyper-seasonal ingredients, allowing diners to experiment with new flavors while chefs and restaurateurs showcase their innovative talents. $33+. See

website for participating restaurants. azrestaurant.org

May 20

‘SPIRIT OF THE AMERICAN WEST’

North Valley Symphony Orchestra will perform a concert of music inspired by the American West, including film scores from “Silverado,” “The Cowboys, “Dances with Wolves” and “The Magnificent Seven.” $5. 7 p.m. North Canyon High School Auditorium, 1700 E. Union Hills Drive, Phoenix. northvalleysymphony.org

May 28

BALLET THEATRE OF PHOENIX SPRING RECITAL

Ballet Theatre of Phoenix will shine the light on spring with a selection of choreography from beloved pieces of classical ballet and imaginative scenes. $30. 11 a.m. and 3 p.m. at Arcadia High School Theater, 4703 E. Indian School, Phoenix. ballettheatreofphx.org

June 2–11

‘NEXT TO NORMAL’

Scottsdale Desert Stages Theatre will present its production of “Next to Normal” See website for price and times. Scottsdale Desert Stages Theatre at Fashion Square, 7014 E. Camelback Road, Suite 0586, Scottsdale. 480-4831664; desertstages.org

June 5–9

DHCSM SUMMER CAMP

Desert Hills Community School of Music will debut its first summer music camp featuring a band instruments workshop for ages 10–17 and a beginning strings workshop for ages 8 and up, including adults. See website for prices. Desert Hills Community School of Music, 34605 N. Tom Darlington Road, Scottsdale. 480869-7660; deserthillsmusic.org

Staging Collaboration

OOver the nearly two decades that she has had the privilege to collaborate with Theatre Artists Studio’s community of actors, directors, playwrights, producers, singers, dancers, musicians, designers and technical wizards, Debra Rich Gettleman has learned one valuable piece of insight that upstages all others.

“The wisdom of the group is always better than the wisdom of the individual,” Rich Gettleman says. “I have directed, produced, acted in and written plays for the company; so I have done almost everything there is to do at the theater. As artists, we come into things with really strong, passionate opinions. But collaboration and team effort are always the things that bring us to the top. It always comes out brilliantly when we work together.”

That was the initial intention behind Theatre Artists Studio when it was founded 18 years ago, and it is the intention that continues to drive and help the nonprofit performing arts company thrive today.

CREATIVE INGENUITY

Theatre Artists Studio was founded in 2005 by Carol McLeod, Judy Rollings, Steven Mastroieni, Judy Lebeau and other performing arts professionals who aspired to create a cooperative space for actors, directors, playwrights and tech designers to work.

The idea behind the effort was to give theater artists an opportunity to explore and present projects about which they are passionate — be it a play they have always wanted to direct, a role they have always wanted to play or an entirely original work they want to workshop, read or produce.

Writer Joseph J. Airdo // Photography by Mark Gluckman

Debra Rich Gettleman

“I remember coming to the first meeting where they explained the concept,” says Rich Gettleman, noting that — as with any new organization — Theatre Artists Studio initially struggled with some production growing pains.

“I moved away about eight years ago. My husband's job took us to Seattle, where I was the managing director of a theater. Then I moved to Oklahoma City and ran a theatre company there. But I have come back every year to do a show [at Theatre Artists Studio]. We moved back here in December.

“And when I came back, I realized that we have really got it now. I believe that we do better performances than any other theater [in the Valley]. I have even spoken to people who have said that our shows are better than anything they have seen in New York or Chicago. And we are so proud of that because we work really hard.”

As a nonprofit, Theatre Artists Studio does not have the budget that some of the larger professional theaters around Arizona have, instead relying on its artistic members’ creative ingenuity to stage its shows to widespread acclaim.

“

The wisdom of the group is always better than the wisdom of the individual.

Debra Rich Gettleman

Judy Lebeau

Kent Welborn and Heidi Haggerty Welborn

“We believe in ‘real’ theater,” says Rich Gettleman, noting that Theatre Artists Studio is much more interested in producing unique, interesting plays about which its members are passionate than the same old musicals that you might see over and over elsewhere. “And we have an audience that really loves us. The New York and Chicago theatergoers — the ‘real’ theatergoers — love us.”

PASSION PROJECTS

Each season, Theatre Artists Studio’s artistic members present potential projects that they would like to see staged. A committee then considers each of the proposals based on cost, funding sources, artistic significance and the likelihood of pleasing audiences and makes its selection that ensures a varied season of professionally crafted productions.

“We are not in a big, black box in a really bad neighborhood,” Rich Gettleman adds. “We are in a gorgeous, 8,000-square-foot building in Scottsdale with plenty of parking. A lot of people are tired of having to drive downtown, fight for a parking spot and pay $100 for admission. Our tickets have remained extremely affordable — at about $25 — for 18 years.

“And the fact that we have managed to not only stay alive but thrive for that amount of time — especially through COVID — is amazing; because nearly every other small theater in Arizona has not made it. We have a cadre of theaters here, but not very many. But we have made it and continue to produce a nice mix of classical and really cutting-edge, contemporary theater.”

Among the plays the company staged this season were Edward Albee's “A Delicate Balance,” Lucy Kirkwood’s “The Children,” A.R. Gurney’s “The Perfect Party” and Jen Silverman’s “The Roommate.”

Dale Nakagawa and Karen Burns

One of the most unique aspects of Theatre Artists Studio — and one that fulfills the nonprofit’s mission to foster collaboration and mutual growth among its membership — is First Look, readings of original works that take place once each month on a Monday.

“Those are really cool because every year we develop a new play to do as a full production,” Rich Gettleman says. “So one of our playwrights gets their original work fully produced — which is pretty exciting.”

First Look events are free of charge and open to the public, who is then invited to share their feedback with the playwright and cast during postreading discussions, further satisfying Theatre Artists Studio’s goals to engage audiences, encourage emerging talent, educate the community and promote a deeper understanding of the power and imagination of theater.

“Our opportunities for our playwrights are amazing,” Rich Gettleman adds. “If you write a play, you can sit in your house and send it to a million publishers to try to get it produced. But where else can you sit down with a group of professional actors and have them read it aloud while you and an audience are all sitting there listening? It is a wonderful place that gives us so many opportunities.”

GROWING PLAYWRIGHTS

Those opportunities are especially plentiful during the summer, when Theatre Artists Studio presents its annual short play festival, filled with “a fresh confection of new tales from talented, local storytellers, offering unique perspectives

on our human foibles, fallibilities and feats of amazing resilience.”

Rich Gettleman says that a committee reads blind submissions of 10-minute plays from its playwrights and selects eight that are then fully produced on Theatre Artists Studio’s stage.

“The summer shorts are usually a nice mix of funny and smart,” says Rich Gettleman, whose “Regurgitated Pearls” is among the eight short plays selected to be produced for this summer’s festival. “There may even be a serious one or two in there, but if you do not like one of them, it will be over in 10 minutes. It is sort of like a smorgasbord. It is a fun way to dip your toe into theater.”

Rich Gettleman adds that 30 playwrights submitted works for this year’s short play festival.

“That is a huge number of submissions for one company,” she says. “And I am really proud of that because it means that we are growing playwrights. Over the years, we have built a huge group of playwrights and they have all grown stronger.

“If you have the chance to come see our summer shorts, you will have so much fun; and you will get a sense of the warmth, the camaraderie and the talent that I think makes people want to join us. Theatre Artists Studio is a homey place. It is certainly my artistic home. It is my happy place. We are sort of a family. And it is a nice feeling.”

Summer Shorts Play Festival

Julie Lee and Jason Isaak

Kirt Shineman and Patti Moran

Patti Suarez

Maureen Diaz Watson

FFeathers have played an integral role in Native American societies for centuries. But unregulated hunting, trapping, killing and loss of habitat threatened North America’s bird populations throughout the 1800s and early 1900s.

In 1918, the U.S. passed the Migratory Bird Treaty Act, which was designed to protect native bird species by prohibiting the possession and sale of feathers, bird parts and eggs. However, the law had unintended consequences: Native American tribes were no longer able to collect birds or feathers for use in their religious or cultural ceremonies. As a result, thousands of birds are taken illegally from the wild and their parts sold on the black market.

In Phoenix, one wildlife conservation and rehabilitation center hopes to put an end to that.

Liberty Wildlife’s Non-Eagle Feather Repository is working to sustain Native American cultures by providing feathers and bird parts that are required to construct religious and ceremonial regalia. At the same time, it’s helping to conserve North American bird populations.

“The whole idea is that the tribes come to us for their feathers, and if they do that, they’re not buying them off the black market,” says Robert Mesta, program coordinator for the NEFR and a member of the Pascua Yaqui tribe. “And if they’re not buying them, there’s not a profit. And if there’s not a profit, people quit killing birds.”

To date, the NEFR has supplied feathers to 247 tribes located in 46 states.

This is just one of the many narratives explored in a new documentary, “The Weight of a Feather,” which premiered on Arizona PBS in early March. The onehour film looks, through the lens of Liberty Wildlife, a nonprofit rehabilitation and conservation center in South Phoenix, at how wildlife connects people, nature and culture.

This film opened my eyes to all of the wildlife that is right here. Working on the documentary renewed my gratitude and faith in other people. Bill Davis

Writer Rebecca L. Rhoades // Photography Courtesy of Liberty Wildlife

The documentary was written and produced by the team at Scottsdalebased Quantum Leap Productions, which is also responsible for “Riders of the Purple Sage: The Making of a Western Opera” and the Emmy Award-winning “Castle Hot Springs: Oasis of Time.”

Kristin Atwell Ford is the director and producer at Quantum Leap.

“It started with the story of the NonEagle Feather Repository, which is a really fascinating story,” she explains. “Then we started hearing all these other stories about Liberty Wildlife, how it cares for animals and helps rehabilitate native species in Arizona and also how doing so sparks our humanity. We began to see Liberty Wildlife as a metaphor for community and how we can work together to find the overlap of our common interests.”

SAVING ARIZONA’S WILDLIFE

Liberty Wildlife was founded in 1981 in the backyard of Dr. Kathryn Orr, a veterinarian who specialized in wild birds. Over the years, Orr and her team treated everything from hummingbirds to condors, quickly outgrowing the 1-acre property. In 2017, a grant from the Rob and Melani Walton Foundation allowed the organization to build a new state-of-the-art facility on 6 acres along the revitalized Rio Salado River.

The rehabilitation center features an intake window for animal drop-offs, while the hospital includes rooms for triage, surgery and isolation. Out back, 180-foot-long flight cages offer room for condors and eagles to regain their wing strength.

When first formed, the organization took in about 85 animals. In 2022,

the center accepted more than 12,000 animals — including birds, smaller mammals and other desert dwellers. According to executive director Megan Mosby, 54% of those animals were treated and released back into the wild.

“Everything we can release, we do,” Mosby says.

Animals that can’t be released often find homes in the group’s educational programs.

The documentary introduces viewers to Bailey, a 35-year-old turkey vulture who is imprinted on people and therefore unable to fend for himself in the wild. Then there’s Aurora, a 20-year-old bald eagle who, as a fledgling, lost vision in her left eye, making it impossible for her to develop the depth perception needed to hunt for food. Now, she soars in her own special way on educational trips on the Verde Canyon Railroad.

“Liberty Wildlife keeps condors that can’t be re-released into the wild here as ambassadors, and there’s a new exhibit with condors that can’t live in the wild,” Atwell Ford says. “It’s fascinating to see them up-close. That’s a piece of Liberty Wildlife that we didn’t want to leave on the cutting room floor because we wanted people to understand what they could learn about by coming here — and what they can learn from animals that wouldn’t survive in the wild.”

A CULTURAL TREASURE

In a small room accessed from the backyard, Mesta and Mare VanDyke, NEFR facilitator, are surrounded by displays of feathers of all sizes and colors, taxidermized birds and Native American accessories crafted from feathers. This is the Non-Eagle Feather

Repository. It is one of only three repositories in the U.S. that are permitted by the U.S. Fish and Wildlife Service to accept, hold and distribute feathers.

“The NEFR is a unique program because it has both cultural and conservation focuses that complement one another,” Mesta explains. “As long as we’re getting feathers out there for cultural purposes, we’re helping to conserve North American bird populations.”

From molted feathers to frozen carcasses and everything in between, the NEFR at Liberty Wildlife deals in more than 1,100 species. Bald and golden eagle feathers are handled by the National Eagle Repository in Commerce City, Colorado. In 2022, the NEFR fulfilled 533 requests for feathers from tribes across the country.

According to Atwell Ford, the repository was the catalyst for the documentary.

“Melani [Walton] was very concerned about indigenous culture and wanted people to learn about Liberty Wildlife’s Non-Eagle Feather Repository,” she says. “She also wanted Native American tribal members to know that they can acquire feathers at no cost for use in their regalia.”

Adding to the conversation in the film about the use of feathers in regalia are world champion hoop dancer Tony Duncan; his wife, Violet; and dancer and chief administrative officer of Sunrise Native Recovery, Alan Davis.

“Every time we make a film, we learn all sorts of new information,” Atwell Ford says.

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“This film opened my eyes to all of the wildlife that is right here,” he says, noting the presence of eagles at Tempe Town Lake and the sheer number of birds that pass through Liberty Wildlife’s doors. “Working on the documentary renewed my gratitude and faith in other people.”

For Atwell Ford, the film offers a connection to the natural world — and to each other.

“There's an ironic humanity about this story,” she says. “And the fact that it elicits compassion — compassion for different species, compassion for where we live, compassion for each other — that's something we could use a big dose of right now.”

“The Weight of a Feather” was made possible by the Rob & Melani Walton Foundation with additional support from Virginia G. Piper Charitable Trust. It is available for streaming with Arizona PBS Passport at azpbs.org.

libertywildlife.org

Quantum Leap editor and director of photography Bill Davis agrees.

PPresident Franklin Delano Roosevelt once said, “We have always held to the hope, the belief, the conviction that there is a better life, a better world, beyond the horizon.”

It is an idea that constantly encourages us to push ourselves to achieve new goals and reminds us, when we are feeling down, that there can always be a brighter tomorrow.

Our natural landscapes are living proof that so much exists farther than the possible limit of sight; beyond what we are able to foresee, know or anticipate. And, in Arizona, we are blessed with a far greater variety of landscapes than most.

“Many of my photographs are looking off into the horizon, sort of inviting the viewer to come explore,” says Eric Jewett, a professional photographer based out of Tucson. “I have always been in awe of landscape artists like Ivan Shishkin and Thomas Cole, who can represent light so well. Their paintings tended to be sort of soft and dreamy.

“I partly imitate that in how I edit some of my photos. I also adhere to many of the classic rules of landscape photography — like the rule of thirds, leading lines, golden hour, etc. And I agonize over minute details like contrast, sharpness and subtle hue changes until it is just right.”

Jewett adds that photography has helped him travel beyond his own horizons — both literally and figuratively.

“Something I really enjoy when I am out taking these photos is the feeling of exploration and connecting with nature,” he says. “I typically shoot wide and crop at 16-by-9. It feels sort of cinematic but also allows the viewer to imagine themselves in the location.”

This month, Images Arizona invites readers to do just that, with a photo essay that showcases a selection of Jewett’s landscape photography. It is our sincere hope that these images draw you into — and beyond — the horizons in them, inciting both exploration and inspiration.

Writer Joseph J. Airdo // Photography by Eric Jewett

LOVELY LANDSCAPES

When out shooting landscapes, photographer Eric Jewett looks for a certain set of criteria: interesting light, foreground and mid-ground subjects, a variety of textures and contrasting colors.

“Then it is just a matter of finding the right or unique perspective and framing,” Jewett says.

“Sometimes I go out with a very specific shot in mind. I might watch the weather and look it up on Google Maps ahead of time to help me figure out the right time of day to go. I will look up other people’s pictures of the same thing and see what they did right and wrong. I might even draw it out.

“Other times, I do not go out with much of a plan at all. I put myself out there and things just line up. Those are often my favorite pictures because they have a story that goes along with them.”

Among Jewett’s favorite Arizona landscapes is Gates Pass in Tucson, which he says has great vistas and is easily accessible.

“It is a reliably pretty location,” explains Jewett, adding that Las Cienegas National Conservation Area — with its grasslands and rolling hills that stretch for miles — is also high up on his list, despite it being difficult to find an interesting perspective. “If you travel a little further southeast, you will reach the Santa Rita Mountains and Madera Canyon, which are very scenic and offer a different habitat.”

Something I really enjoy when I am out taking these photos is the feeling of exploration and connecting with nature. I typically shoot wide and crop at 16-by-9. It feels sort of cinematic but also allows the viewer to imagine themselves in the location.

Eric Jewett

I also adhere to many of the classic rules of landscape photography — like the rule of thirds, leading lines, golden hour, etc. And I agonize over minute details like contrast, sharpness and subtle hue changes until it is just right.

Eric Jewett

I have always been in awe of landscape artists like Ivan Shishkin and Thomas Cole, who can represent light so well. Their paintings tended to be sort of soft and dreamy. I partly imitate that in how I edit some of my photos.

Eric Jewett

I enjoy most everything about photography — from the science and mechanics of capturing light to the intangible joy I get from producing something pleasing to the eye. Eric Jewett

About the Photographer

Born in Phoenix, Eric Jewett grew up in Sierra Vista and recalls having a difficult time working with film in his high school photography class.

“I ruined multiple rolls of film because I would miss steps in the exposure process,” Jewett admits. “I took a more advanced course at the community college when I was older. I felt more comfortable with myself at that age, which I think allowed me to be more creative and push my limits.”

With his professor encouraging his creativity, Jewett’s passion for photography was ignited and he decided to follow the flame.

“I never actually thought that I could make a living doing photography, but I saw job listings for real estate photographers and thought that I would give it a try,” he says. “I found that I enjoyed the active work style and that I was pretty good at it.”

Jewett’s success in real estate photography gave him the confidence to pursue other forms of photography, so he began practicing everything from astrophotography to headshots.

“That was four years ago,” he notes. “I am now a full-time real estate media specialist who does portrait and landscape work on the side. I enjoy most everything about photography — from the science and mechanics of capturing light to the intangible joy I get from producing something pleasing to the eye.”

jewettphotography.com

instagram.com/ericjewettaz

IIn conversation, 17-year-old Scottsdale resident Jenna Rae comes across as a somewhat shy and relatively reserved young woman.

“I am generally a really quiet person,” says the singer and musician, who will this month finish her junior year at Saguaro High School. “But the moment I get on stage, I turn into a different person — well, not a different person; more like my truer self. When I am performing, it feels really natural and innate. It feels like I am in just the right spot where I have new confidence.”

That confidence has served her well in the classroom, where she is a self-described perfectionist who is passionate about learning.

“I am definitely an A-plus type of student,” Rae says. “I am very driven. I just want to learn as much as possible. And I am the same way about music.

Although Jenna Rae says that she leans most heavily toward country music, the 17-year-old Saguaro High School student draws inspiration from other artists in a variety of genres.

Jenna Rae

Rae’s parents encouraged her to pursue piano lessons when she was just 5 years old. Six years later, she picked up the guitar, and in middle school, she began lending her musical skills as a keyboardist and background vocalist for several bands.

I am generally a really quiet person. But the moment I get on stage, I turn into a different person — well, not a different person; more like my truer self. When I am performing, it feels really natural and innate. It feels like I am in just the right spot where I have new confidence.

Writer

Joseph J. Airdo // Photography by David Cottle

Jenna Rae entertains local audiences at events such as the city of Tempe’s Second Sunday on Mill and uses her music to inspire others through nonprofit organizations such as Alice Cooper’s Rock Teen Center and Music United Against Teen Bullying and Suicide.

At the onset of the isolative COVID-19 pandemic, Rae took the opportunity to develop her sound. She was a finalist in Alice Cooper's Proof is in the Pudding Music Contest in 2021 and, shortly thereafter, she began gigging professionally as an acoustic soloist at venues across the Valley — including Stumblina’s Cantina in Cave Creek and Sheraton Phoenix Downtown.

“My shows at the Sheraton have been really a lot of fun because they are in this giant room and the sound just bounces all around,” Rae says. “It is also cool because every now and then the hotel hosts these conferences and you never know what kind of crowd you are going to get. Are they going to like country? Are they going to like pop? You just never know.”

Such experiences allow Rae an opportunity to find her own unique voice — something that she is determined to do before putting out an album, which she intends to do this summer.

“When I write songs, I tend to write one country song then one blues song then one pop song,” Rae admits. “So that has been one of the challenges because, when I release my debut album, I want it to have a coherent sound that is really representative of who I am as an artist.”

Although Rae says that she leans most heavily toward country music, she draws inspiration from other artists in a variety of genres.

“One of my favorite artists is Miranda Lambert,” she notes. “I just love the way that her lyrics come together with the melody of her music. It is really inspiring; and she has the coolest

Scottsdale music artist Jenna Rae was a finalist in Alice Cooper's Proof is in the Pudding Music Contest in 2021 and, shortly thereafter, she began gigging professionally as an acoustic soloist at venues across the Valley — including Stumblina’s Cantina in Cave Creek and Sheraton Phoenix Downtown.

country twang ever. I also like Stevie Nicks. I really love her rock influence with Fleetwood Mac. It has definitely led me to create more music with a little bit of blues in it. I also love Taylor Swift, who has mastered crossing genres, and Kacey Musgraves. The songs she writes are so fresh and I love the understated instrumentation.”

Rae has found inspiration in a number of local musicians, as well — including acoustic pop duo J Forte, rockinfluenced country band Jaty and the Black Stallions and the talented Rich Adams Band.

Of course, she is also inspired, motivated and supported by those closest to her.

“My mom has definitely been a crucial part of my music career,” Rae says. “I guess you could say that she is my momager. She helps with booking and a lot of business side of things. But both of my parents have been really supportive of music — and just everything I am passionate about. I also have a wonderful guitar teacher and an incredible voice teacher. I am surrounded by support — even at school. My friends all really want to see me go somewhere.

That “somewhere” definitely involves a music career — ideally as “the next big Taylor Swift.”

“But, in reality, I just really want to share my music with others,” Rae says. “I want to continue to improve my

songwriting skills and really build my artistry for that so I can create a band, tour nationally, get out there and share it with others.”

In the meantime, Rae is committed to entertaining local audiences at events such as the city of Tempe’s Second Sunday on Mill and to using her music to inspire others through nonprofit organizations such as Alice Cooper’s Rock Teen Center and Music United Against Teen Bullying and Suicide.

“Music has such a significant impact on our lives and especially on our mental health,” says Rae, who is also a dog lover, a cross-country athlete and an avid wake surfer. “So it is really important to me that I use my music for good.

“I just also have such a passion for entertaining. I love bringing the vibe. The role of a musician is to provide an atmosphere; and I just love doing that. I want to do it everywhere I go. I want to make every room better, more exciting, more fun and more joyful.”

jennaraeofficial.com

FFrom the Blue Note and Village Vanguard in New York City to Preservation Hall in New Orleans and Yoshi’s in Oakland, California, jazz clubs have long offered great ways to experience up-close and personal performances by renowned and budding artists of the genre. Boasting stellar acoustics and intimate vibes, they’re where musicians historically would go to perfect their craft; where they could experiment with new rhythms and rework and revise old classics.

David Bauer

In North Scottsdale, a new venue that debuted in October 2021, is taking the Valley’s music scene by storm — and reinventing the public perception of what a jazz lounge is and what it can offer.

WORLD-CLASS PERFORMANCE CENTER

Known simply as Ravenscroft, the venue is the eponymous brainchild of renowned pianist Bob Ravenscroft and his late wife, Gretchen.

“Bob and Gretchen have always had a passion for the arts,” says David Bauer, director of Ravenscroft. “Bob's a prolific jazz pianist and very accomplished musician in his own right. They’ve invested heavily around town and in some other jazz outlets in the area, [including Arizona State University’s jazz program], but they always dreamed of having a building in which live music could be performed at the highest level possible.”

Located steps away from the TPC Scottsdale golf course, the 30,000-square-foot venue is housed in a converted office warehouse. Designed by Phoenix-based architecture firms Architekton Studio and Barduson Architects and built by 180 Degrees Design + Build, the innovative facility showcases multiple live performance rooms, a state-ofthe-art recording studio, a showroom for Ravenscroft pianos (see “Tickling the Ivories” on Page 54) and the most advanced sound system in the Valley.

The organization behind the adaptive-reuse project is Music Serving the Word, a nonprofit, faith-based foundation started by the Ravenscrofts. Prior to having a building, the MSW team would travel to churches and other venues, and Bob and would play improvisational music and conduct readings or inspirational teachings.

A lot of different angles came into play and resulted in Ravenscroft — the outreach, the ability to do live shows, spirit-led music, technology. And honestly, I think Ravenscroft is blowing up even beyond that, beyond what Bob and Gretchen originally envisioned.

Writer Rebecca L. Rhoades // Photography Courtesy of Ravenscroft

“A lot of different angles came into play and resulted in Ravenscroft — the outreach, the ability to do live shows, spirit-led music, technology,” Bauer says. “And honestly, I think Ravenscroft is blowing up even beyond that, beyond what Bob and Gretchen originally envisioned.”

Bauer points to Jazzbird, a relaxed lounge adjacent to the lobby and styled after a Chicago or New York City jazz club. Initially, the Ravenscrofts hoped shows in the lounge would attract 50 or 60 people. But on any given Friday, upward of 200 people queue to see local and visiting artists while enjoying wine, local craft beers and catered meals. Shows are first-come, first-serve, and the cover charge is $10.

Just off the Jazzbird, tucked away behind closed doors is a fully equipped recording studio. Here, Rob Moore, the staff music director and drummer for the Bob Ravenscroft Trio, mixes recordings by Bob.

“The studio right now is primarily utilized by Bob and not open to the public,” he says. “We also have the ability to record all the rooms in Ravenscroft.”

Bauer adds that he aspires to have artists “actually cut some songs or maybe even an album while they’re here to do a show.”

When it comes to the overall aesthetics of the venue, the staff credits Gretchen, who passed away in February, with creating a look that’s contemporary and urban yet welcoming.

“A lot of what you see in the building — the artwork, the color of the seats, the style of everything — is largely her perspective,” Bauer notes.

Sleek midcentury modern-influenced designs dominate furnishings in muted neutrals and bold jewel tones. Oversize black dome pendants lined in a gold finish illuminate the spaces. Earthen materials, such as concrete, terrazzo and raw brick, contrast with floor-to-ceiling windows and steel details. And vivid abstract artworks by Colorado-based artist Britten decorate the walls.

HIGH-TECH SOUND

The centerpiece of the venue is the luxurious 200-seat performance hall.

“No expense was spared in the building of the music performance venue,” Bauer notes. “Bob was like, ‘Let’s build the best performing space that we can with the technology that’s available.’”

Ravenscroft is one of only two venues in the state to feature a Meyer Constellation Acoustic System. The other is Valley Presbyterian Church in Paradise Valley.

The cutting-edge approach to audio uses an array of ambient-sensing microphones, digital signal processing and hightech loudspeakers to redistribute sound throughout the space and ensure a natural acoustic experience from every seat. It’s a dynamic sound reproduction system that takes the music and can adjust it to share the acoustics of a variety of spaces, including a classroom, symphony hall or vast cathedral.

“With the Constellation, the acoustic nature of the instruments gets carried out to the audience. If the system is off, that sound just stays up on the stage,” Bauer explains. “The reason [the Constellation] works so well in a jazz venue is that it lifts the sound and brings it to the audience. I tell people, when you’re sitting here in the seats, you’re part of the music. It truly is an experience.”

A 9-foot Ravenscroft concert grand piano commands the stage.

Video projection mapping on the side walls and around the stage adds to the immersive multisensory experience, while plush seating covered in leather by Poltrona Frau — the interior outfitter of Ferrari vehicles — invites audience members to sit back and get lost in the music.

“I think Bob’s dream was to build a facility that just sounds good — not only for the audience members but also for the artists, the musicians on stage,” Moore says. “It’s a high-quality experience for everyone.”

theravenscroft.com

David Bauer, director of Ravenscroft, and executive assistant Stephanie Kosloske.

WWhen renowned pianist and composer Bob Ravenscroft wanted a piano that would keep up with his distinctive free jazz style, he turned to his friend Michael Spreeman for advice. At the time, in the late 1980s, Spreeman was the head piano technician at Arizona State University.

“Bob had a 9-foot piano at his home, but he wanted it to do some things that it wouldn’t do,” Spreeman recalls. “So one day at lunch, I told him, ‘You have to make a decision. You need to buy a new piano or — what if we can find you an old concert grand, and I’ll redesign it and rebuild it from the ground up for you?’”

Each of Ravenscroft Piano's luxurious instruments is handcrafted by Michael Spreeman and his son, Andrew.

Spreeman acquired a decommissioned 1926 Steinway concert grand and refurbished it to Ravenscroft’s specifications — and the musician loved it.

Fast forward to 2004, and Ravenscroft suggested that Spreeman set up shop in Scottsdale and begin building his own pianos. Ravenscroft even offered to provide the start-up money to fund the venture. Today, the custom instruments, known as Ravenscroft pianos, are considered among the top performance pianos in the world.

Each luxurious instrument is handcrafted by Spreeman and his son, Andrew, in their state-of-the-art headquarters in North Scottsdale, located a half-mile from the Ravenscroft music venue. While the two businesses share the same name, the boutique manufacturing firm is owned by Spreeman and operates independently.

“I put Bob’s name on it because he was the inspiration. Plus, Ravenscroft is such a musical name,” Spreeman says, citing the 17th-century psalmist Thomas Ravenscroft.

The company offers two models of pianos: the 7-foot 3-inch Model 220 and the 9-foot Model 275. The product name is the instrument’s length in centimeters — a typical industry identification system. Base prices

My goal with the piano action is to make it as invisible as possible to the artists because the action is the interface between an artist’s mind, spirit, brain, body going into these keys, this machine, to make music.

Michael Spreeman

Writer Rebecca L. Rhoades // Photography Courtesy of Ravenscroft Piano

start at $230,000 and $280,000, respectively, and each piano takes upward of 1,000 hours to build. By comparison, the typical factory time for a performance piano is 250 hours.

According to Spreeman, there are three things that make a Ravenscroft piano stand out: design, quality and execution.

“We obsess over the design and materials, but execution is primary,” he says. “That’s where we excel. If you don’t assemble all of the elements currently, you’re just going to have a really pretty piece of garbage.

“When you see our pianos, sure they look like normal pianos — they have 80 keys and all of that. But once you understand what goes into them as far as the design, materials and construction, you begin to realize what sets them apart from the other candidates on the market.”

Soundboards are made from 1,000-year-old Sitka spruce from British Colombia and wood from Italy’s famed Val de Fiemme, or “violin forest.” The spruce from this specific region is coveted for its resonant qualities; it is rumored that Antonio Stradivari used it to make his famed violins.

Bridge pins and hitch pins are titanium instead of the standard steel or plated copper. Keys are ebony-capped rosewood. And the rim and lid are finished in a high-end glossy black varnish. An ultra-precise action regulation creates unsurpassed performance. The action determines the weighted feeling of the keys.

“My goal with the piano action is to make it as invisible as possible to the artists because the action is the interface between an artist’s mind, spirit, brain, body going into these keys, this machine, to make music,” Spreeman explains.

“To us as consumers, sound is the biggest thing, but we’re not playing the piano when we sit in the audience. That’s why I say sound is number one, and our sound is totally unique and different. But the other thing that separates us even more from other manufacturers is the precision of the action.”

This meticulous attention to detail results in an instrument that not only looks beautiful but that has a big, crystalclear sound with a full bass, lush tenor and full-bodied treble.

Since its founding almost 20 years ago, Ravenscroft has produced 12 pianos. Three are at the Ravenscroft music venue — a 220 in both the Jazzbird lounge and recording studio and a 275 in the main concert hall. Both Gammage Auditorium at ASU and Tempe Center for the Arts also have 275s. Other pianos can be found in performance halls, recording studios and private residences across the country.

On a wall in the manufacturing room is a photograph of crystal-encrusted sound holes on a silver frame. It’s a section of a custom piano the company built for a studio in Austria that is owned by a member of the Swarovski family. The Model 220 Swarovski Edition is the only one in the world with the silver and black finish. The holes are rimmed with machined stainless steel rings that are coated in thousands of tiny Swarovski crystals.

“When you buy one of our pianos, you’re not getting a factory mass-produced item,” Spreeman says. “What we’re trying to do is give artists something unique that they’ve never experienced before and allow them to do things they’ve never been able to do in their expression of music.”

ravenscroftpianos.com

BBrady Shreeve has always loved the acoustic guitar. But it wasn’t until his father-in-law mentioned the Roberto-Venn School of Luthiery that the Mesa native knew what he wanted to do with the rest of his life.

“I didn’t know that guitar making was a thing until then,” he recalls. “We were on a family trip, but as soon as I got home, I looked up the school, and classes started a month later. I quit my job, and I’ve been here ever since.”

Today, Shreeve serves as a workshop assistant. It’s the first step in what he hopes is a long career with the school.

“I came here and learned that it’s a very special place,” he says. “It’s a little hub of weirdos who all have a common love of guitar.”

It’s a sentiment and storyline that has been repeated over and over by students and instructors for almost 50 years.

BUILDING A LEGACY

The Roberto-Venn School of Luthiery was founded in 1975 by John Roberts, Robert Venn and William Eaton.

Roberts was a pilot for a lumber company who lived in Nicaragua. Throughout the '60s, he had been collecting exotic rosewood with the goal of building a yacht, but before he could accomplish his dreams, his wife developed eye problems. The couple decided to move to Phoenix, but Roberts kept the wood, shipping three boxcar loads by boat to New Orleans and then by rail to Arizona.

One day, while trying to sell some of the lumber, he bumped into a guitar maker who was impressed with its quality and suggested that Roberts use it to build guitars. Although he didn’t play, Roberts did have a fondness for woodworking, so he decided to give it a try. He was a natural. Eventually, he began teaching others how to do the same under the name Juan Roberto Guitar Works.

“There’s something I loved about playing guitar, but I didn’t think I was good enough to be a professional musician. I had no idea my life path would move in this direction.

William Eaton

Writer Rebecca L. Rhoades // Photography by Loralei Lazurek

William Eaton is renowned for his one-of-a-kind multi-stringed instruments

In 1973, Roberts befriended electric guitar maker Venn, and the pair decided to start an informal build-your-own-guitar workshop. Eaton, then a student at Arizona State University, met the duo during one of these courses.

“It took me about four months to build a guitar, and I thought that would be the end of my guitar-making career,” Eaton recalls, noting that he was headed to Stanford Business School.

But for one of his classes, he was required to develop a small business plan.

“I thought why not take Juan Roberto Guitar Works and make it into a school,” he adds.

Eaton presented his plan to Roberts and Venn, and they liked the idea. Upon graduation, Eaton returned to Phoenix, and the trio officially opened the Robert-Venn School of Luthiery.

“I didn’t put my name on it just out of reverence to John and Robert,” Eaton notes. “To this day, I keep the name. It’s a tradition.”

He also kept some of that original rosewood. He plans to use it to create 50th-anniversary guitars.

The school offers two main programs: the five-month-long (880-hour) flagship Guitar Making & Repair course and two advanced 10-week-long Guitar Repair courses. Both programs are full-immersion, hands-on learning. At the end of the five-month class, students will have created both an acoustic and an electric guitar, which they keep.

“Everything is pretty much done by hand,” says assistant director Bart Applewhite. “We don’t even do CNC work here.”

A bass player, Applewhite graduated from Roberto-Venn in 1993. After touring as a musician, he joined the staff fulltime in the early 2000s.

“We teach fundamental hand skills, because you can always learn the computer programming part of it after you learn the fundamentals,” Applewhite adds.

More than 2,000 students have graduated from the school since it first opened its doors. Notable alumni include acoustic builders Jason Kostal and Ray Kraut, both of whom spent time with master luthier Ervin Somogyi; master builder Paul Waller; Joe Naylor of Reverend Guitars; Jason Lollar, one of the top pickup winders in the country; and the founder of PRS Guitars, Paul Reed Smith.

INSPIRING LEADERSHIP

Like so many of his students, Eaton played in bands in high school.

“There’s something I loved about playing guitar, but I didn’t think I was good enough to be a professional musician,” he says. “I had no idea my life path would move in this direction.”

He recalls his days as a student at ASU. A business major with a pole-vaulting scholarship, he filled his days with studying and athletics.

“I would pull out the guitar at night just to relax,” he says. “That’s how I developed my style.”

But it was the skills he learned from Roberts and Venn that brought him worldwide acclaim — as both a musician and as a luthier.

Eaton is renowned for his one-of-a-kind multi-stringed instruments. These unique creations can have as many as 26 strings. Typical guitars have six strings. Each guitar is handcrafted from exotic woods, such as koa, rosewood and ebony, and many feature inlays of precious stones and shells.

Their unusual shapes are influenced by ornamental furnishings, insects, ancient lyres and Native American instruments. And the sound is more reminiscent of a sitar, zither, harpsichord or harp than it is a rock ’n’ roll ax.

“One of my guitars even looks like a harp,” Eaton points out.

Over the years, Eaton has recorded 16 albums; performed with orchestras and acclaimed artists, such as multiGrammy-nominated, platinum-selling Navajo-Ute flutist R. Carlos Nakai; and received the prestigious Arizona

Governor’s Arts Award. He also has been nominated for four Grammys, including Best Traditional Folk Album, Best Native American Music Album and Best New Age Album.

“William is an inspiration on so many levels,” Applewhite says. “He’s the glue that holds this school together. He’s a kind of Renaissance man, if you will. And we’re all fortunate to have him at the helm.”

BUILDING GUITARS, BUILDING CAREERS

If there was one good thing that came out of the pandemic, it’s that many people took up playing musical instruments — with a majority picking up the acoustic guitar. And the past few years saw an astronomical spike in guitar sales. Retailers such as Guitar Center and Sweetwater saw 2020 sales increase by more than 50 percent over the previous year — and the demand is not slowing down.

“More guitars were sold during COVID than probably had been over the last 10 years,” says chief repair instructor Robert Mazzullo. “So they’re out there, and they’re all going to need to be fixed at some point.”

Mazzullo graduated from Roberto-Venn in 1995 and has been an instructor on and off since then. Most recently, he returned to the school in 2019 to teach the 10-week Guitar Repair course.

“Basically, I teach students to become guitar mechanics,” he says. “I want them to be able to walk out of here and open up a shop in their garage or go to work for somebody and make a viable living.”

The coursework opens up possibilities that many never knew existed.

“A lot of our students come here because they’re out there in the world trying to figure out how to get into this industry,” Applewhite says.

One such student is San Tan resident and military veteran Boushon Arnold.

“I was working at Intel, and I didn’t like what I was doing,” Arnold explains. “I had picked up the guitar about three years ago and really got into it. I just loved the way it was as an instrument. I was trying to figure out what I could do with a guitar, and luthiery just happened to be something that popped up.”

Arnold hopes to work in repair after graduation.

Mark Allred also got his start at Roberto-Venn as a student in 2014. Now, the certified luthier helps teach some of the school’s specialty classes, including Tube Amp Design, French Polishing and Lap Steel. Ranging from two days to seven weekends, these avocational classes touch on fields related to luthiery and are aimed toward hobbyists.

“This school is one of those things that, if you’re in the industry, you know that it exists,” Allred says. “You can talk to 50 people at Gibson, and everyone seems to have gone through here. But as far as the rest of the Valley, it’s a hidden gem. I went through, built a couple of guitars, and now I’m hooked. This is the thing that I needed to be doing.”

Shreeve concurs.

“I have nothing but respect and admiration for the school, and I'm super proud to be a part of it. I don't plan on going anywhere,” he says. “Come back in 20 years, and hopefully I'll be right here doing the same thing. Maybe just with partial ownership.”

roberto-venn.com

RECIPE

White Wine Sangria

Summer tends to get a lot of flack here in Arizona due to our extreme temperatures. But I prefer to have a glass-half-full attitude and welcome summer with open arms, as it is the perfect opportunity to imbibe on one of my absolutely favorite drinks — sangria! Though a traditional sangria is made with red wine, this version is made with white and is the ideal beverage for Mother’s Day, Memorial Day or any day!

Serves: 4

Ingredients:

1 bottle white wine (I prefer Sauvignon Blanc)

1/5 cup limoncello liqueur

1/4 cup orange juice

1/4 cup lemon juice

1/4 cup white grape juice

1/2 cup vodka

1/4 cup simple syrup

1 cup halved purple grapes

1 lemon sliced into half wheels

1 orange sliced into quarter wheels

Soda water

Directions:

Mix all ingredients together and serve chilled in a pitcher. Delicious and refreshing when topped with soda water.

Writer and Photographer Francine Coles thefancypantskitchen.com