Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: Les Chauds Lapins at Barbes, Brooklyn NY 10/20/07

[editor’s note: the absence of French accent marks here is due to the computer, not us]

A lush, swinging, passionate performance of some very smart, funny, unabashedly romantic songs from 1930s and 1940s France, mostly. That’s les Chauds Lapins’ shtick: they’re a bunch of Americans playing stuff a continent and a few generations removed, and they do it well. They have a viola and a cello, and when the string section is playing at full steam, they will completely sweep you away as they did tonight. They opened with J’ai Danse avec l’Amour (I Danced with Love), the first cut on their excellent debut album Parlez-Moi d’Amour (Talk to Me About Love). Meg Reichardt (who also plays in the Roulette Sisters) was poised and assured on lead vocals, delivering it with her trademark breathy style, in an impressively good French accent. Then banjo uke/clarinet player Kurt Hoffman took a turn at the mic with the witty Swing Troubadour. It’s told from the point of view of a guy in an upstairs apartment listening to a guy downstairs serenading the girl who used to live there. But she’s not there anymore:

Comme toi je n’ai plus rien
Mais comme toi je chante pour mon bien

“Like you, I got nothing, but just like you I’m singing to myself too,” says the new tenant matter-of-factly. There were enough Francophones in the audience – this was Barbes, after all – to pick up on this and the innumerable other jokes and double entendres that littered the songs they played tonight. On the sardonic Presque Oui (Almost Yes), Hoffman and Reichardt traded off on vocals fetchingly, with an effervescent clarinet solo from Hoffman on the intro. Reichardt wowed the crowd with a banjo uke solo on the bouncy J’ai Connu de Vous (I Knew You), sung by Hoffman, about a guy reminiscing about all the horrible things his girlfriend did to him. Still he has fond memories of her. The album’s title track is a swoony number in 6/8, and Reichardt gave it “tant d’amour [so much love].” On a new number for them, Le Fils de la Femme Poisson (The Fishwife’s Son), Hoffman mined the song’s completely over-the-top humor for everything it was worth. After the gently swaying verse, which sounds suspiciously like the Pachelbel Canon, there’s a campy vaudeville chorus: the narrator can’t afford anything for his girlfriend, a circus headless woman. However, he has been offered a job in a relative’s whorehouse playing accordion. The strings were going full blast on this one, and they were gorgeous.

They followed that with Le Barque d’Yves (Yves’ Boat), a cautionary, 6/8 ballad about dating a sailor where on the last chorus he ends up inviting her to join him in his watery grave. Then Hoffman sang Quand J’Etais Petit, about someone who’s had a crush on a girl since she was a child. But “on n’est plus petit [we’re not kids anymore].” Reichardt pulled out all the passion stops for Si Tu M’Aimes, another cut from the new album, followed by Hoffman’s take on Parlez-Moi d’Autre Chose [Let’s Talk About Something Else, i.e. anything but love]. He forgot the words for a half a verse, but les Chauds Lapins owned the audience tonight, and they forgave him. And they probably forgot all about it after a particularly choice upright bass solo from their 4-string player Andy Cotton. They ended the set with the somewhat silly, coy Il M’a Vu Nue (He Saw Me Naked). The place was packed, but the sound was terrific and the crowd was pretty rapt til they’d finished playing. Nobody cried – people are frequently moved to tears at les Chauds Lapins shows – but a good time was clearly had by all, including a group of Quebecois nodding approvingly. If you can’t wait til the Moonlighters come around next time or you don’t have $200 to cough up for Al Green at B.B. King’s – assuming he ever comes back – les Chauds Lapins will do just fine.

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October 22, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | 1 Comment

Concert Review: Timothy R. Allen at the Organ at St. Thomas Church, NYC 10/21/07

There’s been a lot of mudslinging lately aimed at certain music blogs who flog the same horse – usually a pretty dead one – over and over again. At the risk of falling into that category, let it be said here once more that the weekly, Sunday 5:15 PM organ concert series here is one of New York’s best-kept secrets. If we had our way, it would be much less of one.

This evening’s recitalist was British native Timothy R. Allen, an organist with a conscience. While working in Londonderry, Ireland, he reached out with an olive branch to his Catholic counterpart, Donal Doherty at the Derry Cathedral. The result was the interfaith Two Cathedrals Festival promoting peace and intercommunity relations, a major accomplishment. Allen’s dedication to social issues is matched by his skill at the console, as tonight’s diverse program demonstrated. He opened with British composer Percy Whitlock’s Fantasie Choral No. 2, in difficult F sharp minor. In contrast to Allen, Whitlock’s politics didn’t extend to his music: he may have been something of a recalcitrant Tory wingnut, but there’s a warmth and a joy in much of his work. Although this particular piece begins in a minor key, it quickly switches to the major, with a soulful, catchy, recurrent theme, essentially a spiritual without words.

Allen then shifted gears dramatically with Messiaen’s Dyptich: An Essay on Life on Earth and Eternal Happiness. The first section is an almost shockingly grotesque fugue, almost a parody, its call-and-response neither major nor minor, twisted, tormented, deliberately and arduously unmelodic. Obviously Messiaen was looking forward to his heavenly reward, which in the second part is predictably calm and ambient, mostly sheets of sound played in the upper registers on the organ’s flutes. Troubled as it is, the first part is exponentially more interesting than what follows.

Allen closed with Alexandre Guilmant’s First Sonata in D Minor, a typical French Romantic piece, quite long for its sonata form. He effectively emphasized the considerable contrast between the boisterous intro and outro sandwiching the quiet, meditative pastorale in between. Yet another superb concert in this sonically rich yet pretty much undiscovered space. Does organ music scare people off? Do agnostics and atheists stay away because they assume a religious undercurrent (a vastly erroneous assumption!)? Or is this series like a favorite restaurant, one that’s nice to see having enough of a clientele to stay in business but not to the extent that reservations are required?

October 22, 2007 Posted by | classical music, concert, Live Events, Music, New York City, review, Reviews | , , , , , , , , , , , | 2 Comments