Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Paul Dresher Brings Haunting New Music and New Instruments to Roulette

Paul Dresher‘s Double Duo made a stop at Roulette last night that included a shattering world premiere played by Twosense, and the New York debut of a couple of brand-new instruments. Joel Davel played the marimba lumina – a digital marimba whose library of samples includes a full symphonic percussion section, and is enabled to mix and match a vast number of timbres beyond the instrument’s typical acoustic range. Dresher and Davel aired out the epic sonic capabilities of the quadrachord, which is basically a giant (i.e. twenty-foot) bass lapsteel. The results spanned the emotional spectrum, from nerve-wracking angst to joyous musical acrobatics, It was one of the best New York concerts of the year, without a doubt.

Variations on an eerie theme circled uneasily and then gave pianist Lisa Moore the opportunity to deliver the gamelanesque loops of Dresher’s Double Ikat, Part II with a Bach-like precision, joined in tight choreography with Davel on the marimba lumina and Karen Bentley Pollick‘s alternately dancing and atmospheric violin. A pervasive Philip Glass influence became clear as the trio took it down from an insistent peak to an elegaic outro, Pollick low and affectingly austere.

Dresher’s Glimpsed from Afar paired the composer on the quadrachord with Davel’s marimba lumina. It was sort of a demo of everything the instruments can do together – swoops and dives, sustained sheets of sound, shivery dynamic shifts, ghostly lulls, sly oscillations, joyous percussion samples bursting from the marimba lumina, pointillistic loops and finally a tightly percussive yet deliriously jaunty outro with both players on the quadrachord hammering away on mallets, a cymbal and other percussion objects placed under the strings. Hypnotic yet explosive, much of it sounded like a more concise take on what Michael Gordon did with Timber, his longscale work for amplified sawhorses, a few years back.

The highlight of the concert was Moore and cellist Ashley Bathgate playing the world premiere of Dresher’s triptych Family Matters. Packed with dark chromatics and ominous passing tones, it was a study in contrasts, all of which eventually took on an aspect that ranged from funereal to downright macabre. The duo built subtly out of a dancing theme to a lively but equally agitated series of rises and falls throughout the first part. Then it fell to Moore to keep the steady, almost baroque rhythms going as the piece slowed down, Bathgate employing a viscerally aching vibrato and a chilling sense of longing and loss as its morose dance wound down. Moore took Mood Swings, a harrowing dirge, to a menacing, modal minuet at its peak, then Bathgate brought back a relentless, inconsolable angst with starkly resonant, stygian, sometimes microtonally-tinged lines that were nothing short of harrowing.

The concert wound up with Martin Bresnick’s Fantasia on a Theme of Willie Dixon, which turned out to be simply the minor third interval on which his song Spoonful is based. You know it: Howlin’ Wolf did the original; the Allman Brothers made it famous. Dresher’s hovering electric guitar lines mingles with Moore’s impressionistic piano and Pollick’s jaunty cadenzas and simmering sustain while Davel served as a one-man percussion section on the marimba lumina. It was like early ELO with more challenging tonalities, Moore delivering its most unsettlingly delicious, glimmering interludes

Advertisements

October 27, 2014 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

An Exhilarating Celebration of Ancient Yet Sophisticated Korean Sounds at Symphony Space

Saturday night’s celebration of traditional Korean music and dance staged by Sue Yeon Park of the Korean Performing Arts Center  at Symphony Space featured sounds that were as cutting-edge as they were rustic. Korean pansori singing, and much of Korean singing in general, employs microtones and trills and downwardly bent notes that would baffle an awful lot of western musicians. In her gritty, expressive contralto, like something of a Korean mountain-music counterpart to Tina Turner, iconic pansori chanteuse Shin Young-Hee made it look easy throughout a rather macabre-tinged excerpt from the 19th century love epic Chunhyung-ga. Famous Korean percussionist Lee Kwang-Soo – a gregarious and engaging guy with an edgy sense of humor – led a drum troupe through a thunderously hypnotic, subtly polyrhythmic benediction of sorts. Virtuoso Gee-Sook Baek teamed up with drummer Soung-Jae Cho, who spurred her on through a rivetingly spacious, suspenseful performance on the gayageum, a twelve-string lute that throws off otherworldly tremoloing tones and seems like it could be a predecessor of the sitar. Meanwhile, the night’s emcee, a musicologist from Seoul, reminded the crowd that all this music dated from an era when there was no distinction between performer and audience: participation is pretty much mandatory. All this did nothing to discourage the commonly held notion that Koreans are the 24-hour party people of Asia.

There was plenty of drumming, notably a skull-pounding interlude to open the second half of the concert by the Rutgers Korean Cultural Group, to rival the kind of explosively shamanistic Brazilian sounds produced by BatalaNYC. There was also dancing, lots of it. Park herself took a solo, a graceful number that saw her practically disappear into the stage, facedown, at the end, the folds of her silken costume edging closer and closer downward. It’s one thing to do the splits, Chuck Berry style – it’s another to hold that position in place. Park was doing that twenty years ago and clearly hasn’t lost any athleticism in the ensuing two decades, no small achievement.

A bevy of women swayed and gently exchanged places throughout a stately fan dance, serenaded by the band offstage. Several of the drummers wore ribbons on a swivel affixed to the rear of their uniform helmets, which they spun by moving their heads quickly, side to side – how they managed to keep their footing, keep the ribbons swirling, and keep time, without losing their balance or running headfirst into the the back wall of the stage, was impressive, to say the least. One of them finally made a circle of the stage, spinning faster and faster, leaning in toward the center in a more explosive take on what Turkish dervishes will do at the peak of a musical number. The night’s final performances brought a full musical ensemble together with the dance/drumming contingent (there was a lot of overlap among them, the night’s organizer included); tersely intense geomungo (six-string zither) player Mi Jin Park being a standout among them.

The Korean Peforming Arts Center and their house ensemble, Sounds of Korea, stage frequent outdoor concerts during the warmer months, from Lincoln Center to Little Korea just south of 34th Street and points further south as well; bookmark theirwebpage if sounds as sophisticated yet ancient as these are your thing.

October 27, 2014 Posted by | concert, dance, folk music, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , | Leave a comment