Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Float Away to Third River Rangoon

The original “exotica” music from the 1950s was designed to evoke a cartoonish never-neverland of tiki torches, bikini-clad geishas sipping mai tais at night on the beach, innocuous insectile noises emanating from an utterly benign jungle just a few feet away. Vibraphonist/bandleader Brian O’Neill AKA Mr. Ho’s new album Third River Rangoon, by his shapeshifting ensemble Mr. Ho’s Orchestrotica may have been inspired by that subgenre, but it’s considerably more magical. It leaves far more to the imagination, a lushly nocturnal collection whose most impressive feat of sorcery is getting a simple lineup of vibraphone, bass flute, bass and percussion to create the sweep of a hundred-piece orchestra. The production is genius: Phil Spector couldn’t have done any better than this. Playful and surreal, with an unselfconscious majesty, it’s music to get lost in, just as O’Neill intended. Here he’s joined by Geni Skendo on bass flute and C-flute, Noriko Terada on percussion (and vibes and marimba as well) and Jason Davis on acoustic bass. The tongue-in-cheek title alludes to the third-stream nature of the music, a little jazz, a little classical and more than a little cinematic ambience, like Henry Mancini in a particularly atmospheric moment.

While it’s true that the title track is a deceptively simple, catchy tune with interlocking bass flute and vibes over a bossa-flavored bass pulse, that’s an awfully clinical way to put it: it’s a raft ride under the stars in the subtropical paradise of your dreams. Thor’s Arrival plays an anthemic overture theme gently over a similar staggered bossa beat: it sounds nothing like Grieg or Metallica. Milt Raskin’s Maika plays up an underlying suspense angle, contrasting with restrained yet joyous layers of reverberating vibraphone tones over stately bass; Cal Tjader’s Colorado Waltz downplays the waltz beat (good move) with some memorably offcenter leapfrogging from the flute.

How do you give the Arab Dance from Tschaikovsky’s Nutcracker Suite real Middle Eastern cred? Add an oud, of course. That’s Tev Stevig (of Macedonian group Jeni Jol and many other great bands) doubling the flute lines and then kicking in a terse solo that’s Arab, not just Arabesque. O’Neill opens Phoenix, Goodbye, a bright theme that quickly grows duskier, with some distantly tense knocks on a boomy tapan drum. The most direct and surprisingly hard-hitting number here is the noirish Terre Exotique, again bouncing gently on a bossa-ish beat. The jazziest one is Autumn Digging Dance, oud and vibes together, comfortably afloat on the soft, round tones of the bass flute, Sevig contributing a confounding and somehow perfect solo that’s half blues and half levantine. The catchy, slowly swaying, distantly martial Moai Thief nicks a familiar classical theme, while Lonesome Aku of Alewife turns from shadowy allusiveness to a catchy, poppier tune, the bass soloing fat yet incisive over the verse. The album closes with a brief vignette, Lyman ’59, a late 50s noir pop melody done as a lullaby – a funeral for a south Asian dictator’s mistress, maybe. Tune in, turn on, get lost. Mr. Ho’s Orchestrotica plays Otto’s Shrunken Head on June 18 – the classiest band by far to ever play that joint.

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June 11, 2011 - Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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