Arts & Entertainment

HARBINGERS OF SPRING Ann Moran of Sound Beach recently discovered these snowdrops popping up in her front yard. She writes, ‘Some of my plants in the yard are telling me that spring is not far away. I’ll believe it when I see it!‘

Fun fact: Snowdrops were named after earrings not drops of snow. In the 15th, 16th and 17th centuries women often wore dangly, white drop-shaped earrings known as ‘eardrops.’ Some other common names of snowdrops are Candlemas bells, white ladies, Little Sister of the Snows, snow piercers, dingle-dangle and flower of hope.

Grama grass (Bouteloua gracilis ‘Blonde ambition’) is a welcome presence through winter. Photo by Kyrnan Harvey

By Kyrnan Harvey

At the High Line, the exemplary greenway planted over the abandoned elevated railroad on the west side of Manhattan, the professional horticulturists wait until March for the “cutback” of herbaceous perennials. The dry foliage and stalks gone to seed offer shelter, food and perching possibilities to birds. Leaving them uncut through winter also protects the dormant crowns of plants from winter cold and wind.

But there is a third reason practitioners of the New Perennialist movement delay until March — along with the ecological and the horticultural, there is also the aesthetic. The art of close observation has rewarded us with appreciation of the browns of winter: the lines, the textures and the patterns, especially with the white counterpoint of snow underneath and fresh snow draping the skeletal remains.

The 19th-century Irishman William Robinson was the progenitor of the movement that steered away from formal, geometrical, Victorian bedding-out schemes and garish patterns of hothouse flowers. Through his illustrated books, “The Wild Garden” and “The English Flower Garden” (readily available in reprints); his journal, The Garden; his famous garden Gravetye Manor in Sussex; and through his friendship and collaboration with his contemporary Gertrude Jekyll, he introduced many gardening traditions that today are synonymous with “the English garden” — herbaceous borders, mixed borders (small trees, shrubs, vines, perennials, biennials and annuals grown together in informal drifts), ground covers and rock gardens.

Robinson rejected the artificial, statuary, topiary, fountains and carpet bedding and extolled the naturalistic, the wild and the untidy. His inspiration was not Italian grandeur but rather the simple cottage garden: hardy plants from around the world naturalized to blend into their surroundings. “The best kind of garden grows out of the situation, as the primrose grows out of a cool bank,” he writes in “The English Garden.”

It is an aesthetic that discovers and appreciates the subtle beauties of the natural world in all its diversity near and far. Karl Foerster (1874-1970) was a German nurseryman and writer who discovered a great many perennials, not least grasses, and elevated their status within gardening cognoscenti.

Many of these are North American natives — asters, coneflowers, goldenrods, and most importantly, grasses — but it was European plantsmen, nurserymens and philosopher-gardeners (Ernst Pagels, Mien Ruys, Rob Leopold, Henk Gerritsen, James van Sweden, Wolfgang Oehme) who in the mid-to-late 20th century introduced and popularized many dozens of plants — and the naturalistic aesthetic — that today we take for granted and that is now known as the New Perennialist movement.

And it is a Dutchman, Piet Oudolf, who today is the most acclaimed and influential plantsman and garden designer. The planting at the High Line is the embodiment of his celebrated aesthetic, and is merely one of his many public gardens revealed in a documentary that premiered last November titled “Five Seasons: The Gardens of Piet Oudolf.” He has written numerous books but my favorite is “Oudolf Hummelo,” co-written with Noel Kingsbury. (Hummelo is his family garden in Holland started in 1982.) It is in his beautiful books (or his Instagram) that you will quickly appreciate the merits of delaying until March the cutback of perennials.

As winter drags on, I only just started to cut back the grasses to expose the pushing daffodils. I know of a gardener who uses a mower at its maximum cutting height, but I have Narcissus, Camassia, Allium and Eremurus visible already, so I use my gas-powered hedge trimmer, which makes really quick work of cutting down even the most beastly Miscanthus, and I can be careful not to step on the precocious perennials.

Nor am I in any rush to get to work on the late-winter pruning and cutback of summer-blooming shrubs like Buddleia, Caryopteris, Hydrangea paniculata and roses. I prefer to wait until late March, when any threat of arctic blast is past.

Kyrnan Harvey is a horticulturist and garden designer residing in East Setauket. For more information, visit www.boskygarden.com

 

Kevin McEvoy will discuss the works of Leonardo da Vinci including ‘The Last Supper.’

The Atelier at Flowerfield, 2 Flowerfield, St. James continues its art history lecture series with Leonardo da Vinci, Part II on Thursday, March 29 from 7 to 8:30 p.m. Director Kevin McEvoy will discuss the life and work of Leonardo da Vinci as a scientist, experimenter, poet and artist and his role in the progression of naturalism from Giotto to Sargent.

Enjoy snacks, refreshments, good company and stimulating discussion. Suggested donation is $10. No reservation needed. For further details, call 631-250-9009 or visit www.atelierflowerfield.org.

By Rita J. Egan

It may be chilly outside, but things are heating up inside the John W. Engeman Theater. The Northport venue debuted its production of “In the Heights” on March 15, and with a talented cast and the energetic sounds of salsa, reggaeton, merengue and hip hop, audience members are guaranteed a fun, hot night on the town.

Before he shared the story of Alexander Hamilton through rap and song in “Hamilton,” Lin-Manuel Miranda created this spirited musical, which ran from 2008 to 2011 on Broadway and won four Tony Awards.

A love letter to Latinos who live in Manhattan’s Washington Heights, the story takes place during July Fourth weekend on one city block and centers around bodega owner Usnavi and his neighbors. While the play includes a good deal of reality like money issues, the death of loved ones and the sacrifices one must make for a better life, its main themes are about love and hope, and most important of all, having patience and faith.

With book by Quiara Alegria Hudes and music and lyrics by Miranda, through dialogue and song “In the Heights” reveals the economic struggles of Usnavi and his fellow business owners, car service proprietors Kevin and Camila Rosario and beauty salon owner Daniela.

Directed by Paul Stancato, the musical throws in romance as Usnavi pines away for the beautiful Vanessa, who works at the beauty salon, and the Rosarios’ daughter Nina and their employee Benny engage in a forbidden romance. As the audience gets a peek into the heartache of Usnavi losing his parents at an early age, Vanessa yearning to move downtown, the bright Nina losing her college scholarship and the love felt for the neighborhood’s adopted grandmother, Claudia, one can’t help but feel a part of this close-knit community.

Spiro Marcos as Usnavi does a fine job filling big shoes (the role was originally played by Miranda on Broadway). The actor skillfully uses rap during most of his numbers to tell the story. Marcos is in touch with Usnavi’s softer side, making it impossible not to root for him as he longs for Vanessa and dreams of going back to the Dominican Republic, his birthplace, while trying to keep the bodega afloat.

Cherry Torres and Josh Marin in a scene from ‘In the Heights’

Josh Marin is charming as Benny, and Cherry Torres is sweet and lovely as Nina. The two have a good amount of on-stage chemistry during their romantic scenes, which is front and center during the song “Sunrise” where they sing beautifully together. Chiara Trentalange balances a bit of sass and attitude with a touch of softness to deliver a Vanessa who may be determined to put her neighborhood behind her, but audience members can’t help but like her, too.

Tami Dahbura is endearing as Abuela Claudia, while Paul Aquirre and Shadia Fairuz are perfect together as Kevin and Camila. Scheherazade Quiroga is perfect as the spunky Daniela and delivers comedic lines perfectly. Iliana Garcia is refreshing as naïve hairdresser Carla, and Vincent Ortega is delightful as the Piragua Guy, especially during his number “Piragua” and its reprise. Nick Martinez, as Usnavi’s young cousin Sonny, and Danny Lopez, as Graffiti Pete, do a nice job adding some comic relief throughout the production.

The dancers are also among the stars in the show. Skillfully choreographed by Sandalio Alvarez, they energetically and masterfully transfer from salsa, merengue, reggaeton and hip hop dance steps.

The music in the production is top notch and is a mix of dance tunes that will have audience members wanting to dance in the aisles and emotional ballads for which some may need tissues. The band, led by conductor Alec Bart, does a superb job flawlessly moving from one musical genre to another, and the singers also do an excellent job.

During the first act, Torres expertly uses her vocal talents to perform an emotion-evoking version of “Breathe.” It is during this number audience members discover her time at Stanford University didn’t work out for her, and she now feels lost not knowing what to do with her life.

Aguirre’s number “Inútil” is just as heartbreaking as his character feels useless after discovering his daughter didn’t come to him to help her pay for school. Fairuz also displays strong vocals during the song “Siempre.”

Trentalange sings lead on the upbeat song “It Won’t Be Long Now” with Marcos and Martinez. The actress has fun with the song and her vocals are great.

Spiro Marcos (Usnavi) and Tami Dahbura (Abuela Claudia)

Dahbura moves around convincingly like a frail grandmother, and then surprises audience members with her incredible and emotional vocals during “Paciencia y Fe.” Abuela Claudia remembers her youth in Cuba and arriving in the United States, during the song. Her mother would always remind her to have patience and faith, advice Claudia continues to share with those she loves.

During the first act, the ensemble performs “96,000” as they sing about what it would be like to win Lotto. With the singers emanating so much energy, one can’t help but feel optimistic for them.

Quiroga gets the party started with “Carnaval del Barrio” and her vocals are outstanding. The high-energy song with exceptional dancing is sensational. It is soon followed by “Alabanza” where Torres sweetly sings the first lines and then the song builds up to a powerful number featuring the whole cast. Both performed during the second act are show stoppers.

Spanish is sprinkled throughout the dialogue and lyrics of “In the Heights” to add authenticity, but are always followed by English translations, or the lines are delivered with gestures that make things clear for those who don’t understand the language.

Many may want to see this musical because they are curious about Miranda’s earlier work, but “In the Heights” is an entertaining look into the life of Latinos in New York City and a beautiful tribute to the music that was brought to the United States from the islands of Puerto Rico, Cuba and the Dominican Republic.

The John W. Engeman Theater, located at 250 Main Street, Northport presents “In the Heights” through April 29. Running time is approximately 2.5 hours and tickets are $73; $78 for Saturday evening performances. Free valet parking is available. For more information, please call 631-261-2900 or visit www.engemantheater.com.

All photos by Michael DeCristofaro

From left, Jason Sheltzer, Nicole Sayles (who is a former lab technician and a co-author of an earlier MELK paper) and SBU undergraduates Chris Giuliano and Ann Lin. Photo by Constance Brukin

By Daniel Dunaief

If eating macaroni and cheese made Joe sick, he might conclude he was allergic to dairy. But he could just as easily have been allergic to the gluten in the macaroni, rendering the dairy-free diet unnecessary.

Scientists try to connect two events, linking the presence of a protein, the appearance of a mutation or the change in the metabolic activity of a cell with a disease. That research often leads to targeted efforts to block or prevent that protein. Sometimes, however, that protein may not play as prominent a role as originally suspected. That is what happened with a gene called MELK, which is present in many types of cancer cells. Researchers concluded that the high level of MELK contributed to cancer.

Jason Sheltzer, a fellow at Cold Spring Harbor Laboratory, and Ann Lin and Christopher Giuliano, undergraduates at Stony Brook University who work in Sheltzer’s lab, proved that wasn’t the case. By rendering MELK nonfunctional, Sheltzer and his team expected to block cancer. When they knocked out MELK, however, they didn’t change anything about the cancer, despite the damage to the gene. But, Sheltzer wondered, might there be some link between MELK and cancer that he was missing? After all, scientists had found a drug called OTS167 that was believed to block MELK function.

To test this drug’s importance for MELK and cancer, Sheltzer used this drug on cancer cells that didn’t have a functioning MELK gene or protein. Even without MELK, the drug “killed cancer cells,” regardless of the disappearance of a gene that researchers believed was important for cancer’s survival, he said.

“We showed for the first time that [the drug] was killing cells that didn’t express MELK,” Sheltzer said. The drug had to have another, unknown target.

Sheltzer suggested that this is the first time someone had used CRISPR, a gene-editing technique, to take a “deep dive” into what a drug is targeting. This drug, he said, has a different mechanism of action from the one most people believed.

Sheltzer, whose work was published in early February in eLife, expanded the research from a petri dish, where researchers grow and study cells, to mouse models, which are often more similar to the kinds of conditions in human cancers. In those experiments, he found no difference between the tumors that grew with a MELK gene and those that didn’t have the MELK protein, continuing to confirm the original conclusion. “The tumors that formed in cells that had MELK and the tumors that formed in cells that didn’t have MELK were the same size,” he said.

Originally, Sheltzer believed the MELK protein might be involved in chemotherapy resistance. His lab found, however, that no matter what they did to MELK in these cells, the cancer appeared indifferent. Other researchers suggested that Sheltzer’s work would be instructive in a broader way for scientists.

Sheltzer’s research on MELK “will motivate a new set of standards for target discovery and validation in the field going forward,” Christopher Vakoc, an associate professor at CSHL, explained in an email. Sheltzer “brings a rigorous approach to cancer research and an impressive courage to challenge prevailing paradigms.” Sheltzer’s work highlights the challenge of understanding the mechanism of action of new medicines, Vakoc added.

Sheltzer plans to explore several other genes in which a high concentration of a specific protein coded by that gene correlates with a poor prognosis.

Using CRISPR, Sheltzer believes his lab can get precise information about drug targets and their effect on cancer. He’s also tracing a number of other types of cancer drugs that he thinks might have compelling properties and will use CRISPR to study the action of these drugs. “We want to know not just that a drug kills cancer cells: We want to know how and why,” he said.

By figuring out what a drug targets, he might be able to identify the patients who are most likely to respond to a particular drug. So far, the finding that a drug doesn’t work by interfering with a specific gene, in this case MELK, has been easier than finding the gene that is the effective target, he explained.

One of Sheltzer’s goals is to search for a cancer cell that is resistant to the drug, so that he can compare the genes of the vulnerable one with those of the cell that’s harder to treat. Detecting the difference in the resistant cell can enable him to localize the region critical for a drug’s success.

Sheltzer said finding that MELK was not involved in a cancer’s effectiveness was initially “depressing” because researchers believed they had found a cancer target. “We hope that by publishing these techniques and walking through the experiments in the paper that other labs can learn from this and can use some of the approaches we used to improve their drug discovery pipelines,” he said.

Sheltzer is pleased that Lin and Giuliano made such important contributions to this paper. CRISPR has made it possible for these undergraduates to “make these really important discoveries,” he said. Lin, who has worked in Sheltzer’s lab for two and a half years, was pleased. “It is very exciting to share my knowledge of MELK in regards to its role in cancer biology,” she wrote in an email. “Authoring a paper requires a great deal of work and I am super thrilled” to see it published.

Sheltzer, who lives with his partner Joan Smith, who is a software engineer at Google, said he was interested in science during his formative years growing up in Wayne, Pennsylvania, which is just outside of Philadelphia, and appreciates the position he has at Cold Spring Harbor Laboratory. Soon after earning his doctorate at MIT, Sheltzer set up his own lab, rather than conducting research for several years as a postdoctoral researcher. “I was really fortunate to be given that opportunity,” he said.

As for his work with MELK, Sheltzer hopes he’s saved other labs from pursuing clinical dead ends.

By Heidi Sutton

With quirky worlds and peculiar creatures, some familiar and some not, Dr. Seuss’ enchanting stories have entertained children and adults for generations. Now the Smithtown Center for the Performing Arts brings some of those most memorable tales to the theater’s stage with a Kids Performing for Kids production of “Seussical Jr.” The show opened on St. Patrick’s Day and runs through the end of April.

Kieran Brown as Jojo and Luke Ferrari as the Cat in the Hat in a scene from ‘Seussical Jr.’

With book, music and lyrics by Lynn Ahrens and Michael Flaherty, the show combines “Horton Hears a Who,” “Horton Hatches the Egg” and “Miss Gertrude McFuzz” with all their wonderful characters into a two-hour fantasmical musical adventure; in essence, creating the perfect respite on a chilly March afternoon.

Andrew Murano (“Shakespeare in Love”) directs an incredibly talented young cast of 23 actors, ranging from the age of 8 to 18, in bringing the magical world of Dr. Seuss to life in perfect rhyme, and oh, how magical it is!

From the moment the Cat in the Hat (Luke Ferrari) pops out of a trap door on the stage and belts out “Oh the Thinks You Can Think (When You Think About Seuss),” the show takes off and never loses momentum. Ferrari’s feline character serves as narrator and transports the audience from the Jungle of Nool with Horton the elephant and Gertrude the girl-bird, to the microscopic city of Who-ville with Jojo to, in the second act, the Circus McGurkus, with singing, dancing and uplifting messages.

While the entire cast does a great job, the main characters are simply outstanding. Michael Loccisano shines as Horton and his recurring solo, “Horton Hears a Who,” where a person’s a person no matter how small, is heartfelt. Kieran Brown is a natural as Jojo and his incredible talent is unveiled in “It’s Possible.” Other standouts include Brooke Miranda (Gertrude,) Lorelai Mucciolo (Sour Kangaroo) and Leah Kelly as Mayzie. Their futures as actors look promising indeed.

A nice touch is how the cast utilizes the aisles and even the balcony to convey the story. Designed by Ronald Green III, the costumes are lively and colorful and the set, constructed by Tim Golebiewski, look as if they’ve jumped right off the pages of one of Seuss’ books. The “Green Eggs and Ham” finale is just the cherry on top.

The Smithtown Center for the Performing Arts, 2 East Main St., Smithtown will present “Seussical Jr.” through April 29 with special Spring Break Days from April 2 to 6 at 1 p.m. Booster seats are available and there is a 15-minute intermission. Meet the Cat in the Hat, Horton, Gertrude and Jojo in the lobby for photos after the show. Children’s theater continues with “Willy Wonka Jr.” from May 19 to June 17 and “Mary Poppins Jr.” from Sept. 15 to Oct. 28. All seats are $15. To order, call 631-724-3700 or visit www.smithtownpac.org.

All photos by Danielle Nigro

Stock photo

By Bob Lipinski

Bob Lipinski

Adding grated cheese to a dish of pasta is something we do automatically, sometimes without regard to the type of cheese we’re using or which is suggested in the recipe. Not all grated cheeses are alike. These hard-grating cheeses belong to a group known as grana (in Italian), which means they have a flaky, grainy or granular texture; sharp, well-aged and hard to very hard. These cheeses are suitable for grating when they begin to get old.

Grana cheeses can be made from cow, sheep or even goat’s milk. Although most are made in Italy, some are produced in Greece, Switzerland, Argentina and the United States.

Parmigiano-Reggiano is one of the most popular grana cheeses, but keep in mind, “all Parmigiano-Reggiano cheeses are grana, but not all grana cheeses are Parmigiano-Reggiano.” Italian hard cheeses were once referred to as “cacio duro.” The word “Grana” is legally protected by Grana Padano Protected Designation of Origin, such that only Grana Padano can use the term to sell its produce in EU countries.

Some examples of grana cheeses are Asiago, Bagozzo, Crotonese, Grana Padano, Granone Lodigiano, Parmigiano-Reggiano, pecorino, Piave, Vacchino Romano (Italy), Kefalotyri (Greece), Sapsago and Sbrinz (Switzerland), Reggianito (Argentina) and dry Jack (U.S.).

Grana cheeses will keep for several months if wrapped in damp cheesecloth and then enclosed in aluminum foil and refrigerated. You can purchase grana cheese either previously grated or in chunk form.

If purchasing already grated, plan on using it within 60 days since it will begin to dry out. When using chunks, grate only the cheese you need at one time and refrigerate the unused portion. Hard cheeses may be frozen for up to eight weeks but should then be used for grating, shredding or cooking.

In addition to sprinkling on pasta or popcorn, many grana cheeses are great enjoyed by the chunk with a piece of crusty bread and glass of wine (red or white) or even whiskey. Let the cheese come to room temperature for optimum enjoyment.

My wine recommendations are:

•2016 Standing Stone Riesling (Finger Lakes, NY)

•2016 Gundlach-Bundschu “dry” Gewürztraminer (Sonoma, CA)

•2016 Four Graces “Pinot Gris” (Willamette, OR)

•2016 Shooting Star “Chardonnay” (Lake County, CA)

•2013 Podere Ruggeri Corsini “Barbera Armujan” (Piedmont, Italy)

•2011 La Spinona “Barolo Sorì Gepin” (Piedmont, Italy)

•2015 Poggio al Sole “Chianti Classico” (Tuscany, Italy)

My whiskey recommendations are:

•Wild Turkey Rare Breed Straight Kentucky Bourbon Whiskey Barrel Proof

•Jim Beam Black Label Straight Kentucky Bourbon Whiskey

Bob Lipinski, a local author, has written 10 books, including “101: Everything You Need to Know About Gin, Vodka, Rum & Tequila” and “Italian Wine & Cheese Made Simple” (available on Amazon.com). He conducts training seminars on wine, spirits and food and is available for speaking engagements. He can be reached at www.boblipinski.com OR [email protected].

Mose Allison
Evening will honor the music of longtime Smithtown resident

By Kevin Redding

Mose Allison. Photo by Michael Wilson

A reporter once asked the late jazz and blues pianist and singer Mose Allison — regarded among musicians like Bonnie Raitt, Leon Russell, Pete Townshend and Van Morrison as “one of the finest songwriters in 20th century blues” — why he wasn’t more famous.

“Mose, you were a social critic before Bob Dylan, satirical long before Randy Newman and rude before Mick Jagger,” the reporter said. “How come you’re not a big star?” Allison, who was born in Mississippi and moved from New York City to Smithtown in the mid-1960s to raise a family and spent much of his time walking in the local woods and swimming in the Long Island Sound, responded: “Just lucky, I guess.”

On Saturday, March 24, The Long Island Museum, in partnership with WUSB-FM’s Sunday Street Concert Series and the Greater Port Jefferson-Northern Brookhaven Arts Council, will give the 2006 Long Island Music Hall of Fame inductee his proper due with The Word From Mose: A Celebration of the Music of Mose Allison, a tribute concert in the Carriage Museum’s Gillespie Room at 7 p.m.

Jack Licitra

The concert, following the tradition of other Sunday Street Series shows organized by Charlie Backfish, Stony Brook University history lecturer and host of the university’s weekly radio program “Sunday Street,” will feature local and outside musicians, who will strum and sing through decades of Allison’s breakthrough material, including his more well-known tracks “Your Mind Is on Vacation,” “Everybody’s Crying Mercy” and “I Don’t Worry About a Thing.”

Allison, who died Nov. 15, 2016, just four days before turning 89, was a four-time Grammy nominee and frequent collaborator with jazz greats Zoot Sims and Stan Getz whose songs spanned more than 30 albums — The Rolling Stones, Diana Krall, The Who, The Pixies and Elvis Costello are among those who have recorded Allison’s songs.

Pete Kennedy

The lineup includes “Sunday Street” regular and New York-based singer-songwriter Pete Kennedy; Pat Wictor, electric and slide guitarist of the group Brother Sun; Jack Licitra, a Sayville-based keyboardist and guitarist as well as the founder of the music-teaching studio South Bay Arts in Bayport; and Abbie Gardner, an acclaimed Dobro player who has toured for many years as part of the trio Red Molly. Some members of Allison’s family, including his daughter and singer-songwriter Amy Allison, will also be in attendance.

The evening will also include a screening of a short BBC documentary on Allison called “Ever Since the World Ended,” featuring interviews with Costello, Morrison, Raitt and Loudon Wainwright III and footage of Allison performing.

“Not only is he such an important artist, Mose Allison was someone who lived in this area for many decades and we thought it was time to do something like this for him,” Backfish said of the decision to honor the musician. “When he wasn’t on tour, which was quite often, he would be back in the area and playing shows at the Staller Center at Stony Brook University or jazz clubs in Port Jefferson.”

Pat Wictor. Photo by John Mazlish

Backfish said he also had the opportunity to interview Allison on his radio program many years ago. “He had such an incredibly rich catalog in so many ways and these artists are going to get together and play both well-known songs of his and the deep tracks,” he said. “I would hope that if people aren’t aware of Mose, they’ll suddenly find someone they will check out and listen to, and for those who know him, this will be a great way to celebrate his music and listen to artists reinterpret his songs.”

Wictor, a longtime Allison fan who, with his band, recorded a version of “Everybody’s Crying Mercy,” said Backfish approached him to participate in the concert for his “affinity” for the man’s work. “I love Mose partly because he cannot be categorized easily,” Wictor said. “He sort of mixed jazz and blues, and social commentary, in a way that nobody else did. And I like his sense of humor in his lyrics, which were always a little sardonic and mischievous. He comes across as a person that doesn’t suffer fools gladly and that’s always enjoyable to me. The songs themselves are very musically interesting, too — blues-based but they always have a unique musical and lyrical quality unlike anything else.”

Abbie Gardner

Kennedy said Allison was unusual among jazz musicians in his time because he wrote a lot of songs with lyrics, while others primarily stuck to instrumental compositions. “Allison actually wrote songs that he sang and that’s what we’re focusing on during the concert,” said Kennedy, who noted that he’s had a lot of fun examining Allison’s songs more closely and learning them in anticipation of the show. “His songs sound totally modern to me now, even the old ones from the 1950s and ’60s. The writing is really clever, really humorous and had a little bit of social commentary to it, but not in a negative way.”

Licitra, too, expressed his excitement over his involvement, calling Allison’s music “the thinking man’s blues.” “I’m really looking forward to giving people a taste of his style of intellectualism and humor,” he said. “And for me, this is all about the group of performers on the bill. I’m a big fan of all of them and so I’m excited about playing with them and seeing how they each interpret Mose’s [work].”

The jazz legend’s son John Allison, who grew up in Smithtown, said while his father was a true “musician’s musician” and beloved in many artist’s circles, he was as low profile as could be at home. “There he was, living in Smithtown, so unassuming that even our neighbors, for 15 years, didn’t know what he did until they saw him on TV with Bonnie Raitt for a PBS concert at Wolf Trap,” John Allison said, laughing. “He just wanted to do his thing. He read books and played music. I’d come home from high school and he’d be listening to some weird Chinese, classical music and just laughing and loving it … [and] sometimes he did tai chi in the living room.”

The Long Island Museum is located at 1200 Route 25A, Stony Brook. Advance tickets to the tribute show are $25 through Friday, March 23 at www.sundaystreet.org with tickets at the door for $30 (cash only). Beer, wine and cider will be available for purchase. For more information, please call 631-751-0066.

Snowy. Photo courtesy of Kent Animal Shelter

MEET SNOWY!

This week’s shelter pet is Snowy, a 7-year-old, white domestic long-haired cat waiting for a new home at Kent Animal Shelter. His owners were allergic and couldn’t keep him anymore. Snowy is active, playful, affectionate and friendly to everyone he meets. Won’t you open your heart to this handsome guy? He comes neutered, microchipped and up to date on all his vaccines.

Kent Animal Shelter is located at 2259 River Road in Calverton. The adoption center is open from 10 a.m. to 4 p.m. every day. For more information on Snowy and other adoptable pets at Kent, visit www.kentanimalshelter.com or call 631-727-5731.

Update: Snowy has been adopted!

Roasted Asparagus with Balsamic Glaze

By Barbara Beltrami

Spring is here, or is it? As I sit here writing this a week before publication and approximately two weeks before the holidays, the third snowstorm in two weeks is swirling outside my window. The calendar says spring started on March 20, but right now it’s hard to take that seriously. Anyway, think positively with me and read on.

This year, as so often happens, Easter and Passover fall at the same time. No matter which holiday we observe, it is a signal to officially welcome spring. Out with the old dried up winter floral arrangements, in with pussy willows and daffodils. Out with hearty stews and soups and root veggies; in with asparagus, tender young greens and tiny new potatoes.

And while each holiday has its own religious and traditional observations, many dishes prepared for the feasts have a lot in common. For Passover, eggs are used in abundance to replace the forbidden leavening; for Easter, eggs from the eponymous bunny find their way into many creative dishes. Clear broths served with matzo balls, thin noodles or tortellini usher in the holiday meal, and light fluffy cakes made with flour or matzo meal and egg whites offer a grand finale.

So set your table with daffodils, roast a leg of lamb or a ham and those tiny new potatoes, prepare a bunch of asparagus and perhaps a baby arugula and mache salad and whip up a feather-light spring-y (pun intended) cake. (Next week I’ll give you a recipe or two for those cakes.)

Roasted Asparagus with Balsamic Glaze

Roasted Asparagus with Balsamic Glaze

YIELD: Makes 6 servings

INGREDIENTS:

2 pounds asparagus, trimmed and washed

½ cup balsamic vinegar

¼ cup extra virgin olive oil

2 tablespoons soy sauce

2 tablespoons brown sugar

Coarse salt and freshly ground black pepper, to taste

DIRECTIONS: Preheat oven to 375 F. Grease a 9- by 13-inch baking pan and lay asparagus in it. In a small bowl, mix together the balsamic vinegar, olive oil, soy sauce and brown sugar. Being sure to coat all the spears, gently toss the asparagus with the balsamic mixture. Bake, gently tossing again once or twice, for 10 to 20 minutes, until asparagus are tender. Remove to platter, sprinkle with salt and pepper and serve hot, warm or at room temperature with roasted meat or fowl and potatoes.

Roasted Baby Potatoes and Carrots with Shallots

YIELD: Makes 6 to 8 servings

INGREDIENTS:

2 pounds baby potatoes, scrubbed but not peeled

1 pound baby carrots, washed and trimmed, if necessary

2 shallot bulbs, peeled and separated into cloves

3 tablespoons extra virgin olive oil

One handful fresh flat-leaf parsley, de-stemmed and finely chopped

Coarse salt and ground pepper, to taste

DIRECTIONS: Preheat oven to 400 F. In a large bowl toss all the ingredients together, then place in a large shallow baking dish and put in oven. Turning occasionally with a spatula, roast 30 to 45 minutes until carrots are tender and potatoes are crisp on the outside. Serve immediately with roasted meat or fowl.

Baby Arugula, Mache and Green Grape Salad with Citrus Vinaigrette

YIELD: Makes 4 to 6 servings

INGREDIENTS:

3 cups baby arugula, washed and patted dry

3 cups mache, washed and patted dry

1½ cups green seedless grapes, washed and patted dry, then halved lengthwise

½ cup extra virgin olive oil

2 to 3 tablespoons champagne vinegar or white wine vinegar

1½ tablespoons freshly squeezed lemon juice

1 tablespoon orange juice

1 teaspoon honey

½ teaspoon prepared mustard

1 garlic clove, bruised

Salt and freshly ground black pepper, to taste

DIRECTIONS: In a large salad bowl, toss arugula, mache and grapes together. If using within an hour, do not refrigerate; otherwise cover and refrigerate until one hour before use. In a small bowl, whisk together the oil, vinegar, lemon juice, orange juice, honey, mustard, garlic, salt and pepper. Remove garlic clove before dressing salad. When ready to serve and not before, toss the mixture with the greens and grapes and serve immediately with roasted meat or fowl or as an appetizer.