Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Zem Audu Makes a Dynamic Blue Note Debut

In his Blue Note debut as a bandleader Saturday night, tenor saxophonist Zem Audu showed off a terse, purposeful sensibility, a smokily nuanced tone and compositional fluency in styles ranging from Monty Alexander-style Jamdown jazz, to colorful postbop, funk and more. Much as this guy is used to working a crowd, as a touring and recording member of what’s left of the iconic Skatalites, he saves the sizzle for when he really needs it. Along for the ride and dazzling the crowd with his signature blend of vivid, lushly lyrical neoromantic glimmer, erudite blues and the occasional triumphant detour into Afro-Cuban sounds was powerhouse pianist Benito Gonzalez, anchored by drummer Corey Rawls and six-string bassist Teymur Phell.

The band eased their way into the opening number, Biologique, a vampy, Bahian-tinged thing, Gonzalez elevating it in a split-second with a long, sabretoothed solo, part glistening river of angst, part blues. Rawls opened Posi-Vibes with a hypnotically insistent Nyabinghi drum solo: as the band took it deeper into straight-up reggae, Gonzalez pushed at the edges with disarmingly clever close harmonic variations. Layers began as a strut, then the group shifted it almost imperceptibly toward an implied clave groove.

The night’s showstopper was Shining. Audu opened it as slinky, airconditioned LA boudoir noir, something straight out of the Bob Belden post-Miles catalog. But then the bandleader pushed it on the wings of a little feral valve-torturing and a swirling series of lickety-split Coltrane-esque spirals into more jaunty postbop, teaming with Gonzalez to end it on a triumphant note. After that, the funky intro of Flow didn’t exactly telegraph excitement…until Rawls hit a second line-tinged groove and then everybody got on the gospel bus to New Orleans. The night’s final number was also the most trad, a catchy Frank Foster-ish riff-driven tune bookended by some unexpectedly gentle, sepulchral work from Audu and Gonzalez. Audu and his quartet are at Club Bonafide (the old Something Jazz Club), 212 E 52nd St. on April 22 at 7 PM. Cover is $15.

March 15, 2016 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment

Cantori New York Debut a Haunting, Relevant Program of Choral Works

Saturday night at the Church of St. Luke in the Fields in the West Village, Cantori New York sang an often harrowing, riveting program of powerful, socially relevant US and New York premieres. Director Mark Shapiro conducted the ensemble with a spring-loaded intensity and a beaming sense of accomplishment, mirrored by the group smiling back at him. This ensemble is obviously having the time of their lives pushing the envelope.

In the same vein as Pablo Casals stumbling on the Bach Cello Suites in a junk shop, Shapiro had discovered the distinctive and often mesmerizing work of Italian composer Bruno Bettinelli while browsing randomly in a music store. Bettinelli’s work is virtually unknown in this country and almost as obscure elsewhere. When Shapiro contacted the composer’s onetime publisher in anticipation of conducting the American premiere of Bettinelli’s Three New Madrigals, they had no idea who he was: “Good luck with that,,” was the response, more or less.

Which is astonishing. Shapiro and Bettinelli would eventually become friends, and shortly before he died, the composer sent the conductor copies of his entire body of work. The triptych being debuted raised the question of how many other intricately and imaginatively arranged works might be kicking around in Shapiro’s vaults. The performance began with Parole in Cerchio (Words in the Round), a retelling of a simple six-word Petrarch poem, in this case beginning and ending with love. Raptly hymnal, replete with  of echo effects and reshaped syllables, its tricky counterpart balanced by a wave motion of sorts, it was a showcase for the group’s rhythmic cohesion.

By contrast, Lo Struzzo (The Ostrich), a jovial and ultimately triumphant piece, had a sea chantey-type exuberance that stopped short of buffoonery, with some unanticipatedly eerie chromatics that the group marched up and down the scale about midway through. Shapiro described the final work, Convien Al Secol Nostro (Being Part of Our Century) as a lament for a troubled era, a vividly distant medieval mirror for our own. Building tension with striking contrasts between bass voices and high sopranos, it was awash in uneasy close harmonies and a maze of counterrythms. And no easy answers.

Another US premiere, Latvian composer Maija Einfelde‘s At the Edge of the Earth traced the Prometheus saga in twelve dynamic segments. Looking about as comfortable with the Latvian text as any group of Americans could be, the ensemble made their way methodically through minimalistically pulsing, tightly wound harmonies, jarring melodic adjacencies and a very subtle and intricate game of telephone where notes would be handed off from voice to voice. They took all this through an unexpectedly lilting folk song, a dirgey Slavic work song of sorts and finally a decidedly unresolved ending. The abyss, for this particular Prometheus, is a deep and frigid place.

The program reached a peak with the New York premire of Frank Ferko‘s La Remontee Des Cendres (Rising from the Ashes), utilizing chillingly graphic, tormented, anguished segments from Tahar Ben Jalloun‘s First Gulf War-era epic poem. Told from the point of view of several Iraqi war survivors and victims, it has a shattering eloquence. An eight-piece brass-and-string ensemble anchored by Frank Cassara’s almost subsonic, distantly thunderous bass drum and Kris Saebo’s ominous downtuned bass carried Ferko’s terse, cruelly fatalistic foreshadowing in between the choir’s somber passages. A muted sense of horror was everywhere, in the same vein as Shostakovich’s most harrowing works (String Quartet No. 8 comes to mind). Countertenor Siman Chung and soprano Halley Gilbert added knifes-edge intensity on the high end, up to a couple of horror-stricken, explosive crescendos, a hint at something approximating a peaceful ending, a jaggedly leaping march and eventually a decay into defeated atmospherics whose effect lingered long past a series of standing ovations. Like the Bettinelli piece, it’s a shock that this hasn’t been performed here before.

Cantori New York’s next concert is at 8 PM on May 14 at St. Luke in the Fields featuring Dame Ethel Smith’s rarely performed 1930 cult favorite cantata The Prison. And on March 16,at 7 PM under the direction of conductor K. Scott Warren, the Choir of St. Ignatius Loyola join with soprano Tami Petty for Ferko’s intense Stabat Mater for unaccompanied mixed chorus and soprano solo; plus harpist Victoria Drake joins the choir for the New York premiere of William Culverhouse’s Requiem, at St. Ignatius Church, Park Ave. and 84th St.; cover is $25.

March 15, 2016 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment