Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 9/10/10

Every day our 1000 best albums of all time countdown continues all the way to #1. Friday’s album is #872:

The Patti Smith Group – Radio Ethiopia

This is the great Patti Smith album that everybody sleeps on. It’s her hardest-rocking, most musically interesting, least lyrical, and least accessible one. But a close listen really pays off. As usual, there’s plenty of defiant, tuneful powerpop: Ask the Angels; Pumping My Heart; the reggae-tinged Ain’t It Strange, and Distant Fingers, a co-write with Smith’s then-boyfriend Allen Lanier of Blue Oyster Cult. There’s also the absolutely gorgeous, plaintive, seven-minute Richard Sohl piano ballad Pissing in a River. But the best part is the epic twelve minutes that closes the album, wherein lead guitarist Lenny Kaye – one of the world’s most reliably melodic players – flipped the script and pretty much singlehandedly invented noise-rock. A murky cauldron of swirling, overtone-laden textures, it’s one of the high points of 70s music, and it shifted the paradigm a little further outside. It’s hard to imagine Public Image Ltd., the Dream Syndicate, or for that matter Sonic Youth, without it. Here’s a random torrent.

September 10, 2010 Posted by | lists, Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Amy Gustafson Awes the Crowd at Trinity Church

Pianist Amy Gustafson is VP of the Spanish American Music Council, which makes sense, considering her affinity for Spanish and latin composers. Her solo performance yesterday at Trinity Church emphasized this, but it also underscored her originality and sensitivity as an interpreter of both Romantic and 20th century music. What a pleasure to discover a talented player who doesn’t fit the cookie-cutter mold.

She opened with three sonatas by Antonio Soler, downplaying the courtly waltziness of a couple of bright, major key pieces bookended around a strikingly plaintive performance of the E Minor Sonata (R. 113), a wary, wounded work that foreshadows Chopin. That composer’s Nocturne in F Major, Op. 1, No. 1 was delivered with a matter-of-factness that again downplayed its thickets of grace notes, a more impressive achievement than it might seem: it’s fast and easy to overdramatize. By contrast, Chopin’s Nocturne in C Minor, Op. 48, No. 1, an obviously more mature work, vividly alternated sun-speckled and stormy textures.

Gustafson’s pacing had been finely nuanced all the way to this point, but her feel for the emotional push and pull of the material really came to the forefront in a richly varied series of eight preludes by Alexander Scriabin. Through rippling, distantly Asian notifs, poignantly flowing Chopinesque passages, a couple of roaring, chordally supercharged sprints that could have been Rachmaninoff, the occasional understated heroic theme and the warmly Schubert-tinged final Prelude No. 24 in D Minor with its fiery outro, she distinguished herself along with the music by pulling back whenever it threatened to get too “Romantic.” Scriabin bridged that era and the modern one, and one suspects he would have appreciated Gustafson’s renditions. Other pianists make this kind of stuff maudlin and campy; she made it plaintive and adrenalizing.

Yet during a particularly fast, percussive run up the scale in the El Puerto segment of Albeniz’ Iberia, Book 1, she made it look anything but easy, not only because it wasn’t, but because it made a perfect spot to emphasize apprehension and suspense in the midst of otherworldliness and flamenco-inflected grandeur. She closed with a romp through Ginastera’s Danzas Criollas, Op. 15, another study in contrasts, leaping from nocturnal wonder to a joyous bounce. Satisfied with a job well done, she pulled back from the piano after the strenuous chordal attack was finally over and almost fell over backwards. The audience agreed with her unanimously and demanded an encore, which turned out to be an unfamiliar but beautifully lyrical miniature titled The Secret. Gustafson has a southern tour coming up in November; watch this space for New York dates.

September 10, 2010 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment