Who’s the funniest person in jazz? Wycliffe always knows when to go for the punchline. Jon Irabagon probably plays more musical jokes than anybody else, and Moppa Elliott is right there with him. Put those two together in Mostly Other People Do the Killing – who have a typically killer new album – and look out. Mary Halvorson can be devastatingly funny when she wants; ditto Brian Charette. Another guy with an endless supply of pretty hilarious ideas is Boston-based reedman Daniel Bennett, who has a characteristically devious new album, Sinking Houseboat Confusion streaming at Spotify. He and his long-running four-piece group with guitarist Nat Janoff, bassist Eddy Khaimovich and drummer Matthew Feick have a St. Paddy’s Day gig coming up at 8:30 PM at the third stage at the Rockwood. Cover is $10, the club wasn’t enforcing that annoying drink minimum the last time this blog was in the house there, and if you must be out on March 17, this show should be amateur-free.
The album’s first track is a steady, motoring guitar theme, John Lizard Comes Home: Janoff’s deadpan purposefulness brings to mind Jon Lundbom in sardonically carefree mode. Bennett plays his usual alto sax and also flute on the second number, Andrew Variations, an upbeat, pastorally-tinged tune with a serpentine lattice of voices (and amusing electronic patches) akin to Tom Csatari’s most humorous work.
Bobby Brick Sent Me Daniel Bennett has a purposefully vamping, modal groove and a no-nonsense alto attack from the bandleader, in the same vein as JD Allen’s “jukebox jazz.” The title cut brings back the album’s opening motorik beat, endless success of growling, distorted rock guitar changes and some wry alto/flute multitracks. Bennett sticks with the flute on Paint the Fence, with its woozy guitar sonics and surrealistic Jethro Tull jazz vibe: fans of Prague jamband weirdos Jull Dajen will love this.
Doctor Duck Builds a Patio – gotta love those titles, huh? – is a sort of syncopated take on the opening number: again, it’s like Csatari, but even more surreal and a lot more shreddy. We Are OK! opens ominously, Bennett playing eerily rippling cimbalom-like lines on piano as the tune comes together, a series of echoey long-tone phrases over a steady rhythm and then a stampeding free-for-all.
Poet Michele Herman recites her wry Little Disappointments of Modern Life over Bennett’s solo alto waves and echoes. Then he switches to clarinet for Animals Discussing Life Changes, a waltz, the most cartoonish number here. The album winds up with a spacy, vertiginous, suspiciously blithe reprise of the title theme, Bennett back on alto and joined by Mark Cocheo on guitar.
Although this is fun, colorful music, Bennett has a serious side. He came down strongly on the side of the good guys in that recent social media kerfluffle where Robert Glasper alleged that women jazz fans (“Fine European women,” to be specific) hear with their lower extremities and don’t have the brains to understand solos.
That the Chelsea Symphony’s Powerglide tour of the iconic vistas in Dvorak’s New World Symphony Friday night was upstaged by two world premieres speaks to both the quality of those works as well as the orchestra’s commitment to establishing them in the symphonic repertoire. With meticulous attention to detail, conductor Miguel Campos Neto first led the group through Danny Gray’s Summer Mountains, the winning piece from this season’s Chelsea Symphony composition competition.
Although inspired by eleventh century Chinese landscape portraiture, there’s nothing Asian about it: Gray could just as easily have called it Appalachian Spring. As the work built from distant but purposeful impressionism to awestruck brass riffs, it came across as something akin to Copland but without the fussiness. That, and Dvorak.
As it went on, a couple of dreamy, lustrous interludes referenced the night’s most famous work; otherwise, Gray utilized just about every available instrument, section of the orchestra and tonality. It’s a colorful, programmatic piece. A playfully brief interlude from the percussion section, and then towering heights fueled by brass and wind soloists were balanced with a couple of mystical idylls and a surprise nocturne of an outro. Throughout the piece, solos were crystalline and distinct; the same was true of the work’s counterpoint and textural contrasts. The was one muddy moment where a flurry of percussion drowned out the strings, but that wouldn’t have been an issue in a larger venue.
Soloist Sarah Haines’ role in premiering Michael Boyman’s Concerto for Viola and Orchestra had its virtuoso passages, most striking in a coldly enigmatic, slithery chromatic riff and variations. Yet more often than not, she served as anchor while a succession of dark, often Shostakovian melodies rose and fell around her. Boyman is also a violist, which made perfect sense in context. Cumulo-nimbus low brass loomed large against the litheness of the viola, strings and winds, a brooding, recurrent trope. A rather cynical, dancing scherzo gave way to a boisterous neoromantic crescendo and mighty upward swirl in the coda, a succession of nocturnal motives that again referenced Dvorak at his most lustrous. This moody, mighty suite very vividly reflects our current state of unease: it would resonate powerfully with a global audience.
The orchestra’s silkiness in the most low-key passages of Dvorak’s most famous piece gave Campos Neto a high ceiling for some absolutely bellicose heroic melodies along with wary calls across the plains from sentries and scouts. Chariots swung low and hard and Old Man River was foreshadowed mightily from the current, amid homey familiarity. This performance more than did justice to the ongoing New World Initiative instigated by the NY Philharmonic, an apt choice of a piece to be programmed at venues across this city in an era when the descendants of the African-Americans whose melodies Dvorak appropriated are facing perils that for awhile we thought we’d left behind in another century.
For eleven years now, the Chelsea Symphony have been introducing important, relevant new works while lending their signature flair to standard repertoire. Their next concerts are Friday, April 21 at 8:30 PM and then Saturday, April 22 at 7:30 at St. Paul’s German Church, 315 W 22nd St. off of 8th Ave. featuring an Aaron Dai world premiere plus music of Bach, Stravinsky, Carl Busch, Samuel Magrill and Henri Vieuxtemps. Suggested donation is $20.
Akua Dixon is the dean of jazz cello. Like Ron Carter, she began her career as a classical musician but found that that the doors of that world were closed to African-Americans. And after four decades, she’s still finding new, soulful ways of expression. On her new album, Akua’s Dance – streaming at Spotify – she only plays cello on three tracks, shifting to baritone violin for the rest of the album for a series of vivid and often poignant low-midrange tableaux. She’s playing the album release show tonight, March 11 with sets at s 9 and 10:30 PM at Sista’s Place, 456 Nostrand Ave in Bed-Stuy. Cover is $20 if you call the restaurant at (718) 398-1766 and make a reservation; take the A/C to Nostrand.
The album opens with I Dream a Dream, guitarist Freddie Bryant’s eerie pedal chords and spiky solo punctuating Dixon’s austere lines over an altered. balletesque bolero anchored by bassist Kenny Davis and drummer Victor Lewis. It’s the first of two tracks from Dixon’s opera about New Orleans voodoo legend Marie Laveau. The other, the title cut, is a slinky clave number in 7/4, Dixon’s purposeful, moody, expressive lines giving way to a majestically Spanish-flavored Bryant solo.
The twin bassline that opens the catchy, propulsive Dizzy’s Smile is a lot of fun; then Dixon takes a fond, vintage swing-infused solo. Her steady phrasing throughout Aziza Miller’s slow ballad If My Heart Could Speak to You is steeped in blues and understated plaintiveness, set against Bryant’s resonant sparkle. Dixon carries the pensive melody of Orion’s Gait, a jazz waltz, then hands off to guitarist Russell Malone, who turns up the lights.
Dixon sings Abbey Lincoln’s Throw It Away, the album’s lone vocal number, with melismatic nuance and bittersweet determination. Switching to cello, Dixon opens Afrika! Afrika! with a deep, bluesy river of a solo, Malone and bassist Carter (with whom Dixon finally reunited for their first recording date in four decades) joining in with somber elegance until Dixon introduces the dancing, gospel-infused main theme
Dixon’s take of the Sade boudoir soul classic The Sweetest Taboo has a welcome starkness and directness, Lewis adding a subtle Brazilian-tinged undercurrent, with a deliciously shivery outro from the bandleader. The version of the old spiritual I’m Gonna Tell God All of My Troubles offers broodingly intense contrast, through several subtle metric shifts. Dixon winds up the album with Don’t Stop, a hypnotically kinetic launching pad for a sailing solo from Bryant in contrast to Lewis’ uneasy rumble. As string music goes in 2016, in any style of music, it doesn’t get any more impactful than this.
What’s karmic payback for walking out of a Vijay Iyer show? Losing a recording of the most awestruck, rivetingly beautiful concert of the year, for starters – that, and missing out on most of a performance by this era’s most distinctive and arguably most influential pianist. Vijay, if you’re reading this, don’t take it personally. This blog’s proprietor once walked out on Pauline Oliveros too.
Not that she wasn’t great. It’s just that sometimes the demands of running a blog don’t always coincide with having a life. Saturday night at Merkin Concert Hall, it was at least good to get to see a rapturous, often mesmerizing performance by Pakistani singer and composer Arooj Aftab leading a quartet including pianist Leo Genovese, drummer Jorn Bielfeldt and synth player Yusuke Yamamoto through what seemed to be a largely improvisational suite.
Singing mostly vocalese in a cool, hushed, nuanced mezzo-soprano, Aftab ran her vocals through a series of effects for additional subtlety, adding reverb or looping her phrasing, mostly for the sake of rhythmic shifts. Genovese played the show of his life. Since Aftab’s ghazal-inspired tone poems don’t often shift key and typically eschew western harmony, the pianist assembled an eerily glittering architecture out of passing tones, first bringing to mind Bill Mays playing Angelo Badalamenti’s Twin Peaks themes, then raising the ante to white-knuckle terror in places. Although there was one interlude where Genovese took a long, energetic solo, he held back from going against the current and trying to make postbop out of Aftab’s pensive atmospherics…or taking the easy route and hanging back with open fifths and octaves.
Bielfeldt also played with remarkable and intuitive restraint. Toward the end, he and Genovese exchanged coyly conversational riffs as the music swelled, but otherwise he was all about the lustre. Under these circumstances, having a synth in the band usually spells disaster, but Yamamoto turned out to be a magic ingredient with his deep-space washes of chords and the occasional elegant synth bass riff.
After a roughly forty-minute set, Aftab brought out Iyer for a duo as the encore. It seemed at this point that for a pianist, following Genovese would be just plain cruel, considering how he’d just mined every macabre tonality in the keys and the overtone system. But Iyer went in a more optimistic direction, opting for an approach that was both more hypnotically rhythmic and minimalist, while airing out similar resonance from the overtones. Watching him think on his feet with a much more limited choice of options than usual was rewarding; sticking around for his own set would no doubt have been twice as fun. Iyer is currently on tour; he’ll be back in New York on May 9 leading a sextet through a week at the Vanguard.
Pianist/composer Ayumi Okada writes vivid, cinematic songs without words. Her music is full of stories, and humor, and unselfconscious depth. Much as her sense of melody is appealingly consonant, it would be a mistake to pigeonhole her as a neoromantic: she’s most at home in the borderlands with Debussy and Ravel. A composer-performer, she’s premiering a new piano quintet with a first-class chamber ensemble including star cellist James Waldo on March 10 at 7:30 PM at Holy Trinity Church, 20 Cumming St. in Washington Heights. The group will also play music of Dvorak, Bach, Johann Goldberg, Caroline Shaw and Doug Balliett; admission is $15/$10 stud. Take the 1 train to Dyckman St.
Okada’s debut album is Here, Where the Land Ends and the Sea Begins – streaming at Spotify – a beguiling mix of chamber works. It opens with Okada’s String Quartet No. 1 a steady, bittersweetly theme with echoes of Dvorak and baroque-inflected counterpoint that gives way to a stormily dancing pulse which she elegantly ends up bringing full circle. There’s an arthouse film with a philosophical poignancy that needs this for when the main titles roll, a strongly voiced performance by Waldo, violinists Karen Dekker and Meredith Ezinma Ramsay and violist Rose Hashimoto.
The second work, Cape Roca has a similarly picturesque sweep, Waldo’s austere lines against resonant glimmer and then gracefully ornamented neoromanticism from pianist Alyona Aksyonova. The miniature A Walk in the Park is a showcase for Okada’s playful sense of humor, Aksyonova’s devious leaps and bounds in tandem with peek-a-boo clarinet from Yumi Ito bookending a momentary cloud passing across the sky.
Okada’s Piano Trio No. 1, with the standard orchestration of piano, violin and cello hints at chromatic Shostakovian menace in between stately Piazzolla-esque passages and hints of late Romanticism. The album concludes with a triptych, the Light Princess Suite. Aksyonova plays a majestically enigmatic, emphatically waltzing theme over Waldo’s austere washes in the first movement. The second, where the rest of the strings join in, is awash in moody high/low, still/kinetic contrasts in the same vein as Rachmaninoff’s more airy chamber works. Once again, Waldo’s starkness grounds the piano’s dancing, Debussyesque figures as the suite winds out, artfully shifting meters. It’s Okada at her most colorful and picturesque: this intrepidly dancing creature takes a lot of detours, but she can’t be stopped.
Guitarists who don’t waste notes are a rare breed. They’re even rarer in the world of jambands and summer tours, which is where Charlie Hunter made his mark. As you would expect from a guy who tacked on a couple of extra strings to bolster the low end of his six-string model, groove is his thing. In doing so, he invented his own style of music, equal parts jazz, reggae, funk and vintage soul. And he can be hilarious. His latest excellent, characteristically eclectic album Everybody Has a Plan Until They Get Punched is streaming at Spotify. Hunter and his fantastic quartet have a two-night stand coming up on March 8 and 9 at 8:30 PM at the third stage at the Rockwood; cover is $15. The last time this blog was in the house there, they weren’t enforcing that annoying drink minimum, a good thing since Hunter’s crowd is more likely to smoke than get wasted on the Rockwood’s expensive drinks.
The album opens with the title track, a slow, comfortable swing blues with a characteristically wry, bubbling Curtis Fowlkes trombone solo; then cornetist Kirk Knuffke signals that all may not be so cool after all. Drummer Bobby Previte’s emphatic, tersely swinging slow triplet groove anchors the second track, Looks Like Someone Got Ahead of Schedule on Their Medication, which opens with an amusingly woozy voicings from Fowlkes and Knuffke, then takes a detour to New Orleans before the meds kick in again.
Staccato horns add spice to Leave Him Lay, a mid-80s Grateful Dead style blues fueled by Previte’s swinging, almost disco drive and Hunter’s spiky, Bob Weir-ish chords. We Don’t Want Nobody Nobody Sent is an uneasily swaying midtempo noir theme, like Big Lazy with horns and a long, purposefully crescendoing blues solo from the bandleader. Then Hunter gets even more retro with Big Bill’s Blues, ostensibly a Big Bill Broonzy homage. beginning starkly and then shifting into jubilant Crescent City territory with some artful counterpoint from the horns.
The darkly simmering soul theme Latin for Travelers is a vehicle for a contrastingly bright solo from Knuffke and then Fowlkes, dipping down to just the horns and then back for extra dynamic punch. No Money No Honey is as hard as the funk gets here, although it’s more of a swing tune: everybody in the band, especially Previte, is having a ball with this one.
Who Put You Behind the Wheel opens as a spaciously tiptoeing, Asian-tinged excursion, then morphs into reggae, with a trick ending. The looseness and freeness of Wish I Was Already Paid and On My Way Home mask its relentlessly dark, distantly klezmer-tinged undercurrent . The album winds up with the jaunty, dixieland-ish second-line march The Guys Get Shirts. This works on every level, as first-rate jazz, blues and psychedelia.
Cameron Mizell is the great pastoral jazz guitarist not named Bill Frisell. Like Frisell, he has a laser sense for a catchy hook, a spacious approach to melody, a fondness for the unconventional and a flair for the lurid that occasionally bares its fangs from deep in the shadows. Mizell’s latest album Negative Space – streaming at Destiny Records – is a trio effort with multi-keyboardist Brad Whiteley and drummer Kenneth Salters. Mizell is playing the small room at the Rockwood on March 13 at 7 PM.
The album’s opening miniature sets the stage, a brief, resonant Frisell-style tone poem of sorts, just a couple of tersely exploratory guitar tracks and a little cymbal work from Salters. Big Tree takes those hints of unbridled gorgeousness and, to paraphrase Richard Thompson, really brushes those treetops, a series of soul-infused echo phrases. The slowly swaying Yesterday’s Troubles, Mizell’s distorted riffage paired with Whiteley’s echoey Rhodes piano, sounds like Beninghove’s Hangmen covering a set piece from Quincy Jones’ In the Heat of the Night soundtrack.
Likewise, Whiskey for Flowers hints that Mizell’s going to plunge into Marc Ribot noir, but instead hits a warmly vamping pastorale shuffle that builds to an unexpectedly sweet Jerry Garcia-ish peak (it’s inspired by couple-bonding: Mizell’s wife has come to share his appreciation for the hard stuff). By contrast, Take the Humble is a crescendoing funk shuffle that owes more to Booker T than to, say, Scofield, especially when it comes to Whiteley’s organ solo.
Mizell builds a slow burn over Whiteley’s ominously circular Philip Glassine piano phrases on the album’s cinematic centerpiece, Clearing Skies, rising to David Gilmour epic grandeur, Whiteley channeling blues through the prism of REM balladry. Don’t laugh: it works. Likewise, Get It While You Can, a punchier take on the Grateful Dead version of the old folk song Going Down the Road Feeling Bad.
Barter reaches from spare and then expansive Booker T-ish verses toward Pink Floyd grandeur. A Song About a Tree would be a standout track on any Frisell album, a luscious song without words assembled from catchy electrified bluegrass hooks, drifting matter-of-factly further into space. Unfolding has such an odd rhythm – at heart, it’s a reggae anthem – that it almost seems like the drum was a last-minute overdub. The album’s title cut has an ECM feel, Whiteley’s waves of piano building and then receding way too soon: it could have gone on for twice as long and nobody would complain. The final track is part Dark Side of the Moon majesty, part cinematic Ribot menace. Beyond the tunesmithing here, the absence of bass makes this a great practice record.
In any style of music, singers who are also formidable instrumentalists are rare. In jazz, that usually boils down to players who can carry a tune – Frank Lacy and Wycliffe Gordon, for starters- rather than vocalists with instrumental prowess. By any standard, Diana Krall is a strong pianist; Karrin Allyson is vastly underrated on the 88s, and Alicyn Yaffee is a fantastic guitar player. Then there’s Champian Fulton, who’s even more ambitious. Her latest album, wryly titled Speechless, has no vocals on it. It’ll be up at Posi-Tone Records; bookmark this page and check back for a link.
Although Fulton is best known as a singer with deep, blues-informed roots and a fondness for reinventing Dinah Washington classics, this daring move pays off, through a mix of originals and a coyly dynamic take of Someone Stole My Gal. She’s leading a trio at Mezzrow on March 7 at 8 PM, which no doubt will be a mix of instrumental and vocal numbers. Cover is $20.
This is jazz as party music and entertainment: it’s anything but rote or slick. There’s a jubiliant, fearlessly improvisational quality to these songs. Fulton obviously approached this album as she would a live gig, throwing caution to the wind and having an exuberantly good time with it.
Fulton plays and writes with a singer’s nuance. In the New York City Jazz Record, Scott Yanow compared the album’s opening number, Day’s End, to Errol Garner, and that’s on the money: one of Fulton’s signature devices is winding up a phrase or a turnaround with a trill or grace note-like lightness, just as she’ll pull back from the mic to lure the listener in. She also does that a lot with rhythm: throughout the album, bassist Adi Meyerson and drummer Ben Zweig anchor the swing while Fulton carves out a comfortable envelope for lyrical expression.
Lullaby for Art, an Art Blakey homage, is both a showcase for Fulton’s sublty ironic humor – it’s hardly a lullaby – and also for her scampering but spacious hi-de-ho swing chops. The ballad Dark Blue, based on the changes to Woody ’n’ You, is more tenderly dark: the way she essentially scats her way through the final verse on the keys, encompassing a century’s worth of stylistic devices, is the high point of the album.
Tea and Tangerines is a wryly waltzing mashup of Tea for Two and Tangerine, Later Gator, a shout-out to Fulton’s longtime pal Lou Donaldson, follows a loose-limbed soul-jazz tangent, spiced with Zweig’s tersely exuberant syncopation. Pergola is a peacefully lyrical Shelter Island vacation tableau, Fulton’s lingering upper-register chords paired against Meyerson’s dancing bass. Then the two switch roles.
Fulton cites Horace Silver as a stepping-off point for Happy Camper, the album’s most hard-charging number; Dizzy Gillespie in bracingly latin mode also seems to be an influence. That’s Not Your Donut – #BestSongTitleEver, or what? – returns to the jaunty charm of the album’s opening track. Fulton winds up with Carondeleto’s, a salute to her important early influence, Clark Terry and his Missouri hometown. It’s a bustling, rapidfire swing shuffle that’s the closest thing to hardbop here.
Tuesday night at Roulette, pianist Richard Sussman told the crowd that his nonet the Evolution Ensemble had played its signature composition, his Evolution Suite, maybe five or six times previously, and that this performance was the best of them all. It was his birthday, too. The lush, epic sweep and subtle humor of the performance more than validated the Chamber Music America grant responsible for it.
“I didn’t know I had something programmatic until I’d written it,” Sussman winkingly explained beforehand. Its five movements explore a creation myth, written mostly for piano, bass, drums and strings, with characteristically vivid, intuitive, lyrical solos and textural lustre from trumpeter/flugelhornist Tim Hagans and tenor saxophonist Rich Perry. The duo’s exuberantly intertwining counterpoint literally took the piece out on a high note: the ride there was just as much fun.
Austere fogbanks from the string quartet of violinists Mark Feldman and Mario Forte, violist Ron Lawrence and cellist Peter Sachon kicked off the first of Sussman’s uneasily glistening, spaciously Messiaenic passages that he expanded methodically. The first of Perry’s similarly considered, elegantly crescendoing solos handed off to Hagans, who put on a clinic in finding new and surprisingly subtle ways to color a long series of stairstepping upward and downward chromatic runs.
Since all the gods were tuckered out from creating an entire universe, it made sense that the suite’s second movement would have a balmy swing, in a Gil Evans/Miles Davis vein. Dreamily surrealistic piano ushered in a deep-space tableau spiced with microtonal strings, a drifting Perry solo, a balletesque interlude from bassist Mike Richmond and artful variations on a steady clave from drummer Clarence Penn, who would revisit that trope much more viscerally and impactfully later on.
A rather horror-stricken tritone riff set off the suite’s centerpiece, Nexus, and the chase was on, with a darkly Mingue-esque bustle. A dancing violin solo from Forte heated the mix, Richmond’s black crude bubbles in stark contrast to Sussman’s starlit lines and the shivery string passage that finally fueled an enthusiastic clapalong from the crowd.
The fourth movement opened on an understatedly, portentous note, Penn’s dynamically nuanced and then explosive solo taking centerstage before the piece wound out on an unexpectedly jubilant tangent. Throughout the work, there were all sorts of wry accents: a wisp of a cymbal glissando from Penn; Sussman evincing resonance from the piano lid; and light electronic touches, some of which worked, some of which were superfluous. Wouldn’t it be even more fun if Sussman gets another commission to keep the saga going – maybe that could go in the other direction, an apocalyptic scenario or a cautionary tale at least.
Roulette may be home to some of this city’s most impressive indie classical and avant garde programming these days, but their roots are in jazz, dating back to the Tribeca loft scene of the early 80s. The next jazz show there is on March 20 at 8 PM with the Tomeka Reid Quartet featuring Jason Roebke, Tomas Fujiwara, and Mary Halvorson playing edgy cello jazz; advance tix are $20/$15 stud/srs.
Violinist Elektra Kurtis’ latest album is a fiery, often explosive electric jazz record. But she has many different sides. Last night at the Cornelia Street Cafe, she showed off as much elegance as kinetic energy in a completely acoustic set featuring irrepressibly adventurous indie classical ensemble the PubliQuartet.
She opened solo with a bravura Mozart interlude and closed the night with a full quintet arrangement of one of her signature originals, blending elements of flamenco, Romany dances and tarantella into a lithely stormy, polyrhythmic exchange of voices. An earlier piece, also featuring the quintet, resembled the work of Per Norgard with its enigmatically eerie, steady microtonal motion.
After a couple of flamenco-flavored solo original miniatures, Kurtis brought up Publiquartet violinist Curtis Stewart, who played a raptly hazy solo pastorale: the video for the song made it into the Inwood Film Festival, which makes sense since that’s where he’s from. Then the two violinists exchanged voices deftly throughout a neo-baroque Kurtis piece.
She then left the stage to the quartet. Valencia, a North Atlantic seaside tableau by Caroline Shaw juxtaposed ethereal, saline astringencies with churning, subtly polyrhythmic riffage circulating throughout the ensemble – violinist Jannina Norpoth, violist Nick Revel and cellist Amanda Gookin – who then tackled the evening’s most surreal number, David Biedenbender‘s Surface Tension. It was inspired by a weird dream where a simple glass of water took on the texture of putty and other unexpected substances. Norpoth took care in explaining its strange elasticity, then the ensemble brought its slithery, uneasy shapeshifting trajectory to life, a showcase for pouncing, emphatic voices throughout the group.
Matthew Browne’s Great Danger, Keep Out illustrated what kind of havoc can result when a Tesla coil explodes: Norpoth called it “fiery” and she wasn’t kidding. The Publiquartet’s next gig is with wild, ambitiously carnivalesque large jazz ensemble the Cyborg Orchestra, led by Josh Green at National Sawdust at 7 PM on March 2; $30 advance tix are available. Kurtis plays frequently at the Cornelia; watch this space for upcoming dates.