Pasatiempo - - Onstage This Week -

“Easy,” “Brick House,” “Three Times a Lady,” and “Night­shift” — you can thank The Com­modores for these time­less tunes. Formed from the ashes of the Mys­tics and the Jays af­ter meet­ing as stu­dents at Alabama’s Tuskegee In­sti­tute in the late ’60s, The Com­modores gained a strong fol­low­ing — and a Mo­town record­ing con­tract — af­ter open­ing for The Jack­son 5 in 1971. They’ve never looked back, and at 8 p.m. Satur­day,

July 17, The Com­modores hit the Tewa Ball­room stage at Buf­falo Thun­der Re­sort & Casino (30 Buf­falo Thun­der Trail, ad­ja­cent to Po­joaque Pue­blo, 12 miles north of down­town Santa Fe off U.S. 84/285). Tick­ets, $39 to $69, are avail­able at the re­sort’s box of­fice, by call­ing 800-905-3315, and on­line at www.tick­ets.com. If you thought choral mu­sic was syn­ony­mous with Chris­tian­ity, think again. Santa Fe Desert Cho­rale’s sec­ond pro­gram of the sea­son, Mys­tics and Mav­er­icks, open­ing at the Loretto Chapel at 8 p.m. Tues­day, July 20, and re­peat­ing July 29 and Aug. 4 at the same time, fea­tures pieces in­spired by as­tron­omy, Jewish sto­ry­telling, mys­ti­cism, and Ir­ish po­etry. The pro­gram in­cludes a world pre­miere — Santa Fe Ves­pers 2010 by Robert Kyr, a pro­fes­sor of mu­sic at the Uni­ver­sity of Ore­gon. Kyr calls the piece a “21st-cen­tury re­sponse to one of the choral mas­ter­pieces of the Euro­pean reper­toire, Mon­teverdi’s Ves­pers of 1610” (which closes the Desert Cho­rale sea­son). Kyr writes, “It takes a jour­ney that be­gins from Mon­teverdi’s premise in or­der to ex­plore new, yet re­lated, spir­i­tual path­ways.” Also on the pro­gram is mu­sic by dancer, mu­si­cian, and di­rec­tor Mered­ith Monk. The chapel is at 207 Old Santa Fe Trail. Tick­ets, $30 to $45, are avail­able from Tick­ets Santa Fe at the Len­sic (www.tick­etssantafe.org, 988-1234). De­bra Ehrhardt started telling sto­ries in a mango tree when she was 7, and she’s still telling them, in her 40s. Ja­maica, Farewell is Ehrhardt’s one-woman play about her dream of get­ting to Amer­ica. “Even if there wasn’t a revo­lu­tion, I wanted to come any­way,” she said by phone. “But I saw my op­por­tu­nity at that time.” The show, which ran off-Broad­way and has been op­tioned as a screen­play, tells the story of “all the steps that had to be taken to get from Ja­maica to Amer­ica” in­clud­ing the as­sis­tance of a “low-level CIA agent” and a mil­lion dol­lars in cash that Ehrhardt smug­gled out of the coun­try. “I said to God,” ad­mits Ehrhardt, “‘If you get me to Amer­ica, I’m never go­ing to break the law again.’” Ehrhardt is now an Amer­i­can cit­i­zen with two grown chil­dren. “I kept my prom­ise to God,” she says. Ja­maica, Farewell runs at 8 p.m. Fri­day

and Satur­day, July 16 and 17, at the James A. Lit­tle Theater (New Mex­ico School for the Deaf, 1060 Cer­ril­los Road). Tick­ets are $30 at the door and on­line at www.brown­pa­pertick­ets.com. One of the coolest jazz prac­ti­tion­ers in the South­west is Arlen Asher, and one of the coolest things about him is the ver­i­ta­ble arse­nal of in­stru­ments on which he’s more than flu­ent. They in­clude clar­inet and bass clar­inet; so­prano, alto, tenor, and bari­tone sax­o­phones; and con­cert, alto, and bass flutes. Of course, Asher — who’s also known for his deep jazz knowl­edge and decades of teach­ing mu­sic — doesn’t carry that lit­tle or­ches­tra around with him. He may just fo­cus on one in­stru­ment for a Santa Fe event at 6 p.m. Sun­day, July 18. It’s called

Arlen Asher Plays Jazz Clar­inet Greats. With sup­port from drum­mer Cal Haines, pi­anist Bert Dal­ton, and bassist Michael Glynn, Asher plays mu­sic by Ar­tie Shaw, Benny Good­man, Woody Her­man, and other greats. Call 988-9232 for reser­va­tions. The con­cert is at La Casa Sena Cantina, 125 E. Palace Ave., and there is a $25 cover charge.

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