Adam Spark

In the philosophical tradition of Taoism, "Chi" is the word used to describe the animating force of the universe, the breath of life that permeates all existence. A natural phenomenon, when channeled it can provide a spark to ignite seemingly supernatural powers. In their first meeting as a trio, saxophone great and NEA Jazz Master Dave Liebman and virtuoso percussionists Adam Rudolph and Hamid Drake tap into that spiritual force to create Chi, a transcendent collaboration deeply possessed of fresh inspiration and deep roots, ancient traditions and modern invention.

The isolated planet of Tao is a house divided: the peaceful Daysiders live in harmony while the pale Nightsiders pursue power and racial purity through the violent ritual of the Combat.
Edmon Leontes, the gentle son of a ruthless warrior noble and a proud Daysider, embodies Tao’s split nature. The product of diametrically opposed races, Edmon hopes to live a quiet life pursuing the music of his mother’s people, but his Nightsider father cruelly forces him to continue in his bloody footsteps to ensure his legacy…

Used to be, in the world of stage musicals, there were hits and flops. Hits were shows that opened on Broadway and ran long enough to turn a profit; flops were everything else. But that was back in the days when there were a lot of Broadway shows, they didn't cost as much money to produce, and money was easier to raise. Today, things are much more complicated: Shows don't even have to open on Broadway to be successful. The greater risks and opportunities, however, tend to eliminate finality. In a sense, there are no flops anymore, only shows that haven't been sufficiently revised and reproduced enough times to become hits yet. Stephen Schwartz, who wrote the songs for Godspell and collaborated with Leonard Bernstein on Mass, returned to religious subject matter with the musical Children of Eden, which ran for only 103 performances in London in 1991, though it produced a cast album. Used to be, that would have meant it was a flop. Instead, Schwartz and librettist John Caird continued to work on the show.