Doug Webb‘s new album Another Scene ranks among the best from Posi-Tone, including Jared Gold’s organ albums, the Captain Black Big Band album and Ralph Bowen’s awesome Power Play from a couple of years ago. This one puts the LA tenor saxophonist out in front of a New York rhythm section with energy to match – you want intensity? You got it. Bill Frisell keeps Rudy Royston in his band because he is what he is, but this unit gives Royston the chance to cut loose in the studio like he does onstage in JD Allen‘s trio. He makes bassist Dwayne Burno‘s job easy. Pianist Peter Zak also gets plenty of opportunities to raise the voltage.
The opening track, Mr. Milo, is a briskly biting, syncopated Miles homage, Webb burning through the whole-tone scale, Zak hitting a similarly highwire intensity as he charges downward. One for Art – a homage to Webb’s late bassist bandmate Art Davis – is a launching pad for a long, absolutely blistering run by Webb, Zak’s solo over impatient drums that turn loose explosively- and then the band goes back to swing as if nothing happened. OK…for a little while, anyway.
Kenny Wheeler’s Smatter gets a clenched-teeth, scurrying swing and more Royston being Royston – it calms, or at least focuses, from midway on. They do Dave Brubeck’s Southern Scene as a warmly cantabile ballad, Zak rippling over almost wry Royston cymbals, keeping it lush, Webb’s warm solo echoing a Paul Desmond dry martini elegance. Another Step sets Webb and Zak’s energetic hard-bop moves over a disarmingly simple swing; Jobim’s Double Rainbow works the tension between Webb’s balminess and the raw intensity of the rhythm section for all it’s worth. Royston’s cascading waves in tandem with Zak’s solo are absolutely luscious.
Eulogy takes awhile to get going, but springboards an absolutely haunted, wrenching tenor solo from the bandleader, contrasting with the lickety-split romp Rhythm with Rudy. The version of What Is There to Say here is a predictably long feature for Webb, while Verdi Variations playfully pilfers the opera book, both Webb and Zak attacking the themes with more agitation and fire than you would expect. They follow that with a sly, bouncy excursion through Thad Jones’ Bird Song and conclude with a warmly steady take of Benny Carter’s Trust Your Heart. Webb has come a long way since his days voicing tv characters.
Leif Arntzen’s latest abum Continuous Break takes a page out of the vintage Miles Davis book: throw the band a few riffs and have them create songs on the spot. That all this sounds as good as it does, and as thoroughly composed as it does, is credit both to the band’s chemistry and the hooks that Arntzen tossed into the brew. One of the most individualistic and consistently original trumpeters to emerge from the New York scene over the past 25 years or so, Arntzen may be best known for his his scarily evocative Chet Baker project, Channeling Chet, but he’s also an extremely eclectic, first-rate composer. Recorded live in the studio, this mix of purist, in-the-tradition renditions of standards and out-of-the-box originals is the best album Arntzen’s made to date, and a strong contender for best jazz album of 2013. Arntzen is joined here by regular band since 2010: guitarist Ryan Blotnick, keyboardist Landon Knoblock, bassist Michael Bates and drummer Jeff Davis. The whole thing is streaming at Bandcamp.
The opening track, Beautiful Mind starts as a tone poem and becomes a deviously mysterious, nebulously bluesy, atmospheric game of hide-and-seek, Blotnick’s resonance and bubbles eventually taking centerstage as the rhythm congeals into something of a funky shuffle. Then Arntzen comes in and takes it in a mid-60s Miles direction. Psykodelic Divide is a bustling misterioso urban nocturne a la Taxi Driver, trumpet and Wurlitzer neon-lighting a bass groove.
The picturesque Pretending I’m a Bird works long, floating, dreamy passages gently ornamented by the bass and guitar. The best and most haunting track here might be Tired, inspired by a riff Arntzen picked up from his son Miles (drummer for Antibalas and leader of the similarly edgy Afrobeat jamband Emefe). Dark gospel trumpet rises over a haunting psychedelic rock groove over a killer Bates bassline, the band shifting in a pastoral direction before Arntzen goes machinegunning his way out. Likewise, Arntzen’s laser-surgical precision, rising over the bubbly Wurly on Vain Insane, will give you goosebumps.
The first of the standards, My Ideal, juxtaposes Davis’ edgy brushwork against Arntzen’s trademark lyricism. The most animated and intricate number is The Call, replete with conversations, good cop/bad cop dynamics and a simmering tension as Bates holds the center. Street Dog sets a wryly blazing Blotnick slide solo over slinky funk as Bates references Albert King…and then Arntzen turns it into a beautiful ballad. Their closing take of Bye Bye Blackbird blends Blotnick’s resonantly enigmatic, judicious lines with Arntzen’s balminess, Bates once again holding it all together.
Great tunesmiths never have to look far to find good musicians. Wednesday night’s late set by the Maria Schneider Orchestra at the Jazz Standard may have been a clinic in cutting-edge writing for large ensemble, but it was also a summit meeting of some of New York’s edgiest jazz talent. Schneider and this awe-inspiring cast are here through Sunday at 7:30 and 9:30, an annual Thanksgiving week tradition that, if you haven’t already joined the cult, is waiting for you to discover and be hooked by it forever.
The most unforgettable solo of the night was when pianist Frank Kimbrough segued from the slinky, suspenseful soul groove Night Watchman into the more sweepingly lush Sailing, adding a menacingly glittering noir coda packed with chromatics and macabre major-on-minor riffs before the bright, buoyant atmospherics set in. Or, it might have been tenor saxophonist Donny McCaslin’s droll, mischievous portrayal of hijinks out on a Minnesota lake, Schneider looking back on hanging with friends during her formative years. There was also a slowly unfolding, enigmatic but warmly chordal solo from guitarist Lage Lund, an even more ambient and plaintive one from accordionist Gary Versace. an allusively microtonal Steve Wilson alto sax solo; a thoughtfully considered, spiraling trombone solo by Marshall Gilkes and a more spacious yet also more rhythmically adventurous one later on from Ryan Keberle – and there were others. Ironically, this big band relies less on soloing than any other. It’s Schneider’s compositions that people come out for: contributions from the rest of the personalities are the icing on the cake.
A couple of the set’s early tunes were the bluesiest and most in-the-tradition, but also less of a showcase for the sweeping colors and epic majesty that characterizes so much of Schneider’s more recent work: it was as she was saying, “So you think I was good then? You should hear me now.” A new one, dedicated to the late Brazilian percussionist Paolo Mora, was inspired by the time he took Schneider out to see a performance of one of his massive student ensembles: “It was like being shot out of a cannon,” Schneider explained, being surrounded on all sides by all the percussive firepower. And this piece, with its swirling, hypnotic midsection, had the same effect, bolstered by her signature melody and sweep. But there were just as many hushed, rapt moments, as in the closing number, a bittersweet, pre-dawn Great Plains tableau (from Schneider’s recent Dawn Upshaw collaboration, Morning Walks), or when bassist Jay Anderson built elegant, plaintive pointillisms with guitar voicings as swells subsided to whispers.
It also happened to be Schneider’s birthday, and she was overcome both by the band’s affection – not to mention their blend of meticulousness and titanic, Gil Evans-inspired power – and by her memories of the late trumpeter Laurie Frink, an important part of this ensemble for several years. It wasn’t much of a surprise that Schneider would wear her heart on her sleeve, considering how emotionally direct her music is. If you’re in town this weekend, go see her.
Saturday night in the sonically exquisite downstairs digs at SubCulture, vibraphonist Chris Dingman‘s The Subliminal and Sublime previewed what might be the best album of 2014. It takes a lot of nerve (or cluelessness) to characterize your music as sublime, but Dingman’s obviously aware that he’s caught magic in a bottle with his new five-part suite commissioned by Chamber Music America. “You’re going to have to figure out where one part ends and the next one begins,” he told the crowd before giving it a Manhattan premiere. The band – Fabian Almazan on piano, Ryan Ferreira on guitar, Loren Stillman on alto sax, Linda Oh on bass and Justin Brown on drums – was clearly amped to begin recording the following day. In about an hour onstage, dynamics rose and fell in glistening, twilit waves with echoes of Brian Eno, Pat Metheny and the Claudia Quintet as well as Bryan and the Aardvarks, a group that Dingman contributes to as memorably as this one.
The suite began with lingering, airy motives, Dingman bowing his notes, Ferreira deftly twisting his volume knob, a still, spacious wash of minimalist high harmonies. Tempos varied from spacious and seemingly rubato, to straight-up four-on-the-floor, to more knotty, as the arrangements rose and fell through cinematic, anthemic themes fueled by Brown’s majestically emphatic cymbal and tom-tom work, back to hypnotic, minimalist washes of sound. The conversational rapport between Almazan and Dingman mirrored their approach in Bryan & the Aardvarks – half the time, it was hard to tell who was playing what, making that distinction pretty much beside the point. Oh’s one solo of the night was was an elegantly precise, tensely climbing lattice; later in the night, she kicked off a thematic shift with a plaintive series of bell tones that the rest of the band picked up hauntingly. Ferreira alternated between lingering, airy motives and precise, minimalist picking as Dingman – one of this era’s most consistently interesting and individualistic vibraphonists – spun a richly echoey vortex illuminated with glistening cascades, insistent two-handed rhythmic figures and poignantly whispering passages that at least seemed to be natural markers between segments. The sheer hummability and bittersweetly resonant quality of the melodies are signature Dingman traits. It was good to see this show being filmed; let’s hope that at least some of it makes it to the web.
One-man or one-woman theatre pieces are usually to be avoided at all costs. Former sitcom stars recounting every anxious second of a struggle to adopt a Chinese baby…addled old men doing standup about their time in rehab as a condition of their probation…you know the drill. The famous exceptions to the rule – Krapp’s Last Tape, Eric Bogosian in general – give the genre a better reputation than it deserves. Vickie Tanner‘s nonchalantly incendiary solo show Running Into Me, which ended last month at LaMaMa, rises to the level of the latter category and deserves to be brought back in a larger room, especially considering how explosively audiences responded during the run’s final performances there.
With a nonchalant gleam in her eye and a disarmingly direct delivery, Tanner employs her stilletto wit throughout an autobiographical narrative that in many ways is a metaphor for racial relations in American in the here and now. Director Bruce McCarty doesn’t wait ten seconds to set up a clever device that amps the suspense to fever pitch, leaving an unresolved question and its potentially ghastly answer to linger until the very end of the show. In between, Tanner lets her story speak for itself. While an ironclad logic fuels her acerbic humor – her bullshit detector is set to stun as far as hypocrites and cognitive dissonance are concerned – she doesn’t preach.
Tanner is straight outta Compton…originally, that is. But her easygoing if exasperated account of her younger days on the playground in Ice Cube’s old turf quickly takes on a series of ironies, most drastically when she goes to live with her drug dealer dad. And suddenly…she’s transformed from ghetto girl to comfortable suburbanite, with a car of her own, a guidance counselor who assumes college is in everyone’ s plans, and a big-screen tv where she can get lost in whatever’s playing on Turner Classics. This is the first of many implications offered obliquely throughout the show, that people will follow their own compass no matter what their ethnic or economic background, especially if given the opportunity. Without stating it outright, Tanner’s point is that her story could be pretty much anyone’s: what makes hers different is that people make assumptions about her that they shouldn’t.
Over and over, what makes Tanner’s narrative so appealing – and its occasional disquieting detail so appalling – is how universal it is. College girl/party animal with no idea of what she wants to do afterward suddenly gets the epiphany that New York is where she belongs…and the race is on. From there it’s a whirlwind trail of absurd dayjobs – one particularly heartbreaking one in the New York City public schools – bad apartments and one obstacle after another. What gets Tanner over the hump, and gets her over with the crowd as well, is her dedication to her muse and the unlikely places it leads her, the intimation being that not that many young African-American women from Compton are unlikely to find their niche in the world of New York experimental theatre. Throughout what may seem to be an unlikely success story (though certainly not to Tanner herself), she slings the occasional bullseye at preconceptions on every side of what could be called a racial divide. The media takes the most direct hits; in one particularly casual but poignant moment late in the show, she muses on her experience working a college fair for a mostly black crowd of high school kids uptown. And whatever deprivation they may have faced, Tanner marvels, “They’re just like me.” These kids aren’t thugs, they’re just looking to get ahead like anybody else. Balanced against that ultimately triumphant conclusion, the denouement packs quite a wallop and puts those hopes in very, very clear perspective. California-bred though she may be, Tanner is ours now and we’re better off for it. Come to think of it, it’s hard to imagine her anywhere else.
Who’s the best symphony orchestra in the world? Most orchestral players will quickly suggest the Berlin Philharmonic. And pretty much everybody agrees that the Mariinsky Orchestra makes the best albums. But talk to someone who sees a lot of concerts, even a cranky critic, and they’ll tell you without hesitating that a performance by a lesser-known orchestra can be every bit as amazing as one by a brand-name ensemble. While the Greenwich Village Orchestra‘s neighborhood has changed vastly over the past fifteen years, they haven’t. They’re oldschool, in an edgy East Village sense, premiering new works, showcasing up-and-coming soloists before the big orchestras get hip to them, and trotting out spirited versions of old standards. This Sunday’s concert was typical.
With Barbara Yahr on the podium, they began with the world premiere of the new orchestral version of Israeli composer Moshe Zorman’s Galilean Suite. It opened with an easygoing, easy-to-like overture on a biting Yemeni folk tune and ended with an acerbically modernist take on the traditional Jewish hora dance, which in this case was completely free of schmaltz, conductor and ensemble clearly having a ball with it. In between, there was a circular, Reichian theme that seemed to holler “I can write indie classical too,” and this particular one happens to be overwritten and overwrought. Half the group, or maybe the string section alone, would have sufficed. The orchestra did with it what they could, but even the energetic percussion features were simplistic and beside the point. Memo to other orchestras: do this as a diptych and crowds will love you for it.
The crowd went crazy, giving featured violinist Itamar Zorman (Moshe’s kid) two impromptu ovations for the first couple of movements of the Brahms Violin Concerto. The GVO discovered him four years before he won the 2011 Tschaikovsky Violin Competition in Russia. Much as every orchestra plays this warhorse, it’s cruelly difficult for a soloist, but with a spun-glass legato matched to a searing, rapidfire attack, Zorman made it look easy. Having seen another orchestra recently having to suffer backing another violinist who was not up to the challenge, this was all the more rewarding. And while it’s the famously aleatoric violin parts (Brahms let his violinist pal Joseph Joachim come up with the famous final cadenzas) that the crowds come out to see, this was done as classic, luminous, pilllowy, hard-to-resist, peak-era Brahms, complete with vivid cameos from oboeist Shannon Bryant and harpist Andre Tarantiles.
Also on the bill was Tschaikovsky’s Romeo and Juliet Fantasy-Overture. The story may be Italian, but this emotionally raw, minutely detailed performance left no doubt that it was written by a Slavic composer, its wounded wintriness evoking the chill of snowflakes drifting under the door. Maybe it was the gloomy day outside; more likely, Yahr sought to portray the sadness that lept out from the mournful, introductory brass and winds and signaled that while this might end energetically, the story was not a happy one. Again, having seen another orchestra play a perfectly satisfying, lushly Mahlerian version (isn’t it amazing how differently orchestras play this same repertoire?), this hit a lot harder, emotionally speaking. Then again, that’s the GVO in a nutshell. Their next concert is their very fun, lively annual family concert – where kids get in free, and can march behind the orchestra – plus an “instrument petting zoo,”plus reception afterward, on Sunday, Dec 8 at 3 PM featuring music of Rossini, Beethoven, Ravel and more at Washington Irving HS Auditorium, 40 Irving Place at 17th St.. just off Union Square.
“So many moments,” murmured one concertgoer to his friend after watching Kayhan Kalhor and Ali Bahrami Fard play a shattering version of their duo suite I Will Not Stand Alone to a sold-out audience at the Asia Society Saturday night.
“The Jimi Hendrix of kamancheh!” his friend exclaimed. Actually, the instrument that Kalhor, the iconic Iranian composer and string player, had been using was a custom-made “shah kaman,” which combines elements of the Turkish tanbur, Chinese erhu and the Persian kamancheh fiddle. Fard also played a modern instrument, a bass santoor, which is tuned an octave lower than the traditional Persian hammered dulcimer and delivered a spine-tingling, richly resonant sound akin to the lower midrange of the piano mingling with a distant meteor shower of microtones much further up the scale. And while Kalhor’s compositions draw deeply on Persian classical music, this work is completely in the here and now. The Asia Society has been celebrating the music of Iran this fall, with a final concert this coming December 7 at 8 PM with the prosaically titled but exciting, jazz-inclined Iranian/Syrian ensemble Sound: The Encounter.
I Will Not Stand Alone portrays profound sadness, but also profound resilience. The people of Iran have suffered greatly under brutal repression since the late 70s (and before then, life under the Shah was no picnic for a lot of people, either). Kalhor’s program notes spoke to how music gave him and his fellow citizens hope throughout the darkest hours of the Khomeini regime. But this enigmatic, dynamically-charged theme and variations resonates beyond any borders: as an account of suffering and transcendence, it ranks with the most powerful works of Shostakovich or any western composer. And while the two musicians followed the arc and movements of the recording of it they released last year, this was hardly a rote, note-for-note rendition, each player following the other’s improvisations closely as it went along. It began elegaically, Kalhor using the shah kaman’s cello-like low register for a misty, opaque tone as Fard played hypnotic, rhythmic ripples or gentle, austere accents. But the shah kaman, and the kamancheh, can also evoke weeping, and there was no absence of that once the work got rolling, Fard’s elegant volleys and understated, artful variations on a recurrent chromatic vamp propelling it until then.
The musicians’ cameraderie was so tightly aligned it was often as if they were one and the same instrument; despite the sonic differences between the two instruments, it was often hard to tell who was playing what, not that it really mattered. Once they reached about the midway point, Kalhor took centerstage, much more animatedly than he usually does, quite possibly because this work is so autobiographical and close to his heart. He swirled through a circular theme for Fard to ornament, threw off a handful of lightning, spiraling descending motives and angst-fueled, leaping cadenzas, then finally backed away. Fard then moved in with a glimmer that was as precise and sonically exquisite as it was distantly menacing. A lively, even wryly amusing country dance fueled by Kalhor’s rapidfire bowing quickly got twisted out of shape and took on a macabre, maimed character. Leaping flourishes from Kalhor on the way out ended the concert with an exhilarating display of chops that still left a lingering note of disquiet. It is hard to think of a composer or a soloist who so vividly captures the state of the world in 2013 as Kayhan Kalhor, and Fard matched that intensity as well: this was as state-of-the-art as music gets these days.
Singer Natalie Fernandez has a genre-smashing new album out, Nuestro Tango, a collaboration with a shapeshifting band whose core is pianist Zaccai Curtis’ Insight. Curtis, a member of both Donald Harrison and Cindy Blackmon’s bands, knows a thing or two about cross-pollination. Likewise, his brother, bassist Luques Curtis, of Eddie Palmieri’s band, whose work obviously inspires this project. Fernandez, daughter of well-known tango singer Stella Milano, does a lot with a small voice, singing fluently in both Spanish and English, more animatedly in Spanish which probably makes sense since the Spanish-language numbers are livelier. Essentially, as Palmieri does so often, these tracks make Afro-Cuban jazz out of themes from further south of the border, in this case from Argentina and Uruguay. The rest of the inspired ensemble includes drummer Richie Barshay, Reinaldo de Jesus on percussion, Daniel Antonetti on timbales, Julie Acosta on trumpet, Tukunori Kajiwara on trombone, and Zach Lucas on tenor sax plus a multitude of special guests.
They open with Azabache, the first of the candombes, which gets a swinging, fat groove, a lithe Zaccai Curtis intro, a gem of a piano solo that’s far too short, a balmy horn chart…then they make a guaguanco out of it. Right there you have the band’s m.o. El Dia Que Me Quieras looks back to the famous Eddie Palmieri version but with more of a nuevo tango feel and coy, terse vocals from Fernandez. Like the first track, they swing it out with a cha-cha groove.
Adios Nonino probably isn’t the first song you might think of swinging, but Fernandez does it tenderly over an understatedly slinky beat lit up by Richard Scofano’s bandoneon. They follow it with Afrotangojazz, a vamping feature for percussion and bandoneon. Malena builds to an emotionally-charged, suspenseful crescendo – and then the percussion kicks in, and suddenly it’s a summery candombe-salsa romp. My True Love, a salsa-tinged jazz ballad co-written by the pianist and singer, gets an incisive, wood-toned bass solo and a hard-hitting break for drums and percussion.
Since this is a Curtis Brothers project (the two earned the top spot on the Best Albums of 2011 list here for their album Completion of Proof) it’s no surprise that there’s socially aware content, most vividly expressed in the elegant jazz waltz Free Me, with its moody bass solo and a thoughtful lyrical interlude delivered by hip-hop artist Giovanni Almonte Alberto Mastra’s El Viaje del Negro gets rapidfire bursts of lyrics, a brisk, poinpoint beat and a full-bore brass section. By contrast, Juan Carlos Cobian’s Nostalgias opens with eerily glimmering piano and a brooding trumpet line setting the stage for Fernandez’ wounded, angst-ridden vocals, intertwined with the bandoneon and a darkly gleaming horn chart. It’s the best and most epic song on the album. Fernandez winds it up with a torchy yet nuanced voice-and-piano version of Eladia Blazquez’s Un Semajente It’s out now on Truth Revolution Records.
Mr. Ho’s Orchestrotica began as an Esquivel cover project and quickly expanded to become a vehicle for multi-instrumentalist/percussionist bandleader Brian O’Neill’s erudite grooves, part exotica lounge band, part droll Raymond Scott-esque third-stream ensemble and once in awhile, expanding to become an explosive big band. With the smaller unit, it continues to amaze how big and lush a sound O’Neill gets out of a simple vibraphone/flute/bass/drums quartet. Their first album, a collection of Esquivel tunes, was a mixed bag; their second, Third River Rangoon, a richly woozy, psychedelic glide down a jungle river of the mind. Their third, Where Here Meets There is a suite, more or less: while the compositions don’t segue from one into another, O’Neill sets a mood immediately and maintains it, hypnotic and resonant yet a lot more rhythmic than their previous effort.
The opening track, Chiseling Music, introduces the nebulous, enigmatically minimalist feel that dominates most of these compositions, guest Tev Stevig’s spiky tanbur contrasting with balmy atmospherics. Beginning with echoey hand drum and then a slowly winding vibraphone solo, Sansaz dances, but as if underwater, finally emerging to come face-to-face with the cold, distant menace of that tanbur again. Maracatune for Chalco works a vamping, Esquivelic low-versus-high contrast, bass handling some of the highs, flute some of the lows as it grows more kinetic and then suddenly eerie as percussionist Shane Shanahan comes to the foreground.
Would You Like Bongos with That Fugue? is O’Neill in droll third-stream mode, a dancing Jason Davis bass solo at its center as the atmospherics recede back into the mist. Ritual Mallett Dance – inspired by paradigm-shifting percussionist Chano Pozo, with distant ecchoes of flamenco and cha-cha – mashes up de Falla’s Ritual Fire Dance and Dizzy Gillespie’s Guachi Guaro. They follow that with a Gershwin triptych that makes bouncy bossa out of ragtime, finally sending Geni Skendo’s flute soaring skyward, Peggy Lee’s Siamese Cat Song making a somewhat predictably cartoonish appearance midway through. The album ends with a masterfully misterioso, brooding take of Cal Tjader’s Black Orchid, Stevig managing to fire off an oud solo that doesn’t sound Middle Eastern, looping bass and then ambient flute maintaining a suspenseful edge as O’Neill’s vibes get busy. Adding to the fact that this a fascinating and often very fun album is that there is no band on the planet that sounds remotely like Mr. Ho’s Orchestrotica – not even any of those long-defunct Esquivel ensembles who inspired them.
The intriguing, crisply performed new album, Airy: John McDonald Music for Violin and Piano is just out from Bridge Records with the composer at the keys along with Joanna Kurkowicz on violin. It’s a series of mainly short, wary, acerbic, sometimes atmospheric, sometimes incisive works written between 1985 and 2008. A handful of them are etudes. Minimalism is the usual but not always defining idiom here. Moments of virtual silence are pierced by anxiously leaping motives; subtle humor occasionally breaks the surface.
The duo open with a graceful, austere waltz interrupted by a fleeting. macabre piano cadenza. The second piece has calm violin contrasting with menacingly Schoenbergian piano, meant to evoke the nocturnal alienation of a Samuel Beckett poem. A Brief Pastiche of a Theme by Schoenberg is aggresively lively and rhythmic, punctuated by moments of stillness lit only by pianissimo overtones from the violin.
Four Single-Minded Miniatures range from tensely dancing, to bell-like and funereal, to a pillowy/jagged dichotomy and a bit of a fugal interlude between the two instruments. After a blip of a Mad Dance, there’s Lily Events – a Suite of Seven Little Studies, a wryly furtive, cinematic suite: they go slowly out into the water, pick the plants vigorously, wash the mud off and then retreat to a dry place. What anyone actually does with the lilies is unknown.
Kurkowicz negotiates the tricky tempos, understatedly edgy riffs and hypnotic ambience of McDonald’s Sonata for Solo Violin with a steady focus and deftly subtle variations in tone and dynamics. A Suite of Six Curt Pieces parses a Satie-esque creepiness more methodically than jarringly. which segues well into Lines After Keats. The album’s title track reverts to the occasionally turbulent juxtapositions of the opening piece.
Bridge Records, who put this one out, also has two very enjoyable, relatively new releases featuring the clarinet. The first is one of the label’s many archival rediscoveries, a reissue of the Stuyvesant Quartet‘s 1947 recording of the Brahms Clarinet Quintet with the crystalline-toned Alfred Gallodoro as soloist, in addition to two lively 1951 recordings of Mozart D major string quartets, K. 499 and 575, respectively. Active on and off from 1938 until 1965, the Stuyvesant Quartet was notable for being one of the first all-American string quartets (the old-world name is both completely honest and a bit disingenuous at the same time). The remastering – from pristine original vinyl – doesn’t lose the wonderful natural reverb of the church on the Westchester/Bronx border where the Mozart was recorded. It makes you wonder how many people might have seen a copy of the original Philharmonia record at a yard or library sale and passed up what’s probably now worth hundreds of dollars. And a somewhat more modern new release, the San Francisco Ballet Orchestra‘s recording of Carl Maria von Weber’s Clarinet Concertos Nos. 1 and 2 plus his Concerto for Clarinet conducted by Martin West, with Alexander Fiterstein as soloist, merges a velvety lushness with an agile, aptly dancing quality.