Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Amy London Shares an Archive Full of Stars

“You know, i played on that record.”

Sit around for any length of time with a bunch of sidemen, or bandleaders who sometimes lend their talents to others, and the conversation inevitably drifts to the obscure. Sometimes the thread ends on a down note. Eventually, “I wonder when she’s gonna put out that album,” turns into “That album never came out.”

Until this month, that’s what both Fred Hersch and Dr. Lonnie Smith would have said about Amy London’s wryly titled new retrospective, Bridges, streaming at Spotify. The singer and member of bebop quartet the Royal Bopsters recorded her first three sessions as a bandleader in 1984, 1987 and 1990,. None of them have seen the light of day until now.

An ambitious effervescence pervades this retrospective. To paraphrase London, it’s someone who cut her teeth on blue-eyed soul doing her damnedest to make a mark singing both bop and ballads. In the years since she recorded this material, she’s done both. It doesn’t look like she’s touring the record, but the Royal Bopsters are at Minton’s on Jan 13 at 7:30 PM for $15.

There are three ensembles on the three sessions represented here. Fred Hersch leads the 1987 recordings from the piano (and contributes vocals!), joined by drummer Victor Lewis, Harvie S on bass, Bob Mintzer on tenor sax and Cyro Baptista on percussion. The 1990 recordings – tracks eight through twelve – feature pianist Peter Madsen, bassist Dean Johnson, drummer Eliot Zigmund, trumpeter Byron Stripling and New York Voices leader Darmon Meader.

The final two cuts include Dr. Lonnie Smith on Hammond organ, Bobby Franceschini on tenor sax, guitarist Jack Wilkins, bassist Harvie S and drummer Akira Tana.

London’s clear, uncluttered delivery, sometimes with a tinge of mist, makes an apt vehicle for a singer whose ideas typically echo horn phrasing. London isn’t just the bandleader – she’s an integral part of these ensembles, and there  are innumerable, vivid illustrations of that here. The slinky intertwine between vocals and bass in A Sleepin’ Bee, just for starters. Likewise, the imaginative vocal-and-sax duet to kick off I’m in the Mood For Love. The torrents of vocals-as-trumpet-solo in Bohemia After Dark are irrepressibly fun and as craftily thought-out as any instrumental contribution to the sessions.

London shifts from brooding storytelling mode to an Afro-Latin stomp in Love For Sale, The rest of the album includes a full-throttle take of Devil May Care, a expansively pensive wee-hours interpretation of Dream, a hazily shimmery, organ-fueled version of You’ve Changed and a really nifty tropical reinvention of the 60s klezmer-pop hit Night Has a Thousand Eyes.

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January 6, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Brooding, Cinematic Piano Minimalism From Elias Haddad

Pianist Elias Haddad writes dark, pensive, frequently poignant songs without words that draw equally on minimalism and film music, with flickers of the Middle East. You could call him the Lebanese Ludovico Einaudi. Philip Glass is also a major influence. For fun, check out Haddad’s performance in the Jeida Grotto at Mount Lebanon – much as the humidity is doing a number on the piano’s tuning, you can tell how magical the sonics must have been in there that night. His new album Visions is streaming at Spotify. Lucky concertgoers in Ghazir, Lebanon can see him there with Noemi Boroka on cello at the town church on Jan 20 at 7:30 PM; the show is free.

The new album is mostly solo piano, Jana Semaan adding moody, lingering cello to several cuts. The opening track, Falling Leaves blends bell-like, calmly insitent phrases over stygian cello washes: it’s akin to Yann Tiersen playing Federico Mompou.

Alone, a rather menacing solo piano anthem, reminds vividly of Glass’ film work, notably the Dracula soundtrack. It makes a diptych with the similar but more emphatic Chasing Dreams. In Deep Blue, Haddad builds hypnotically circling variations over the cello wafting in from below.

Dream 6676 would make a great new wave pop song – or the title theme for a dark arthouse film. Eternal Tranquility juxtaposes spacious, distantly elegaic piano against distantly fluttering cello that sounds like it’s being run through a sustain pedal. Haddad makes a return to Glassine territory with Free, a somber waltz, and then Illusions and its tricky, Indian-inflected syncopation.

The cello lines over Haddad’s slowly expanding, twinkling broken chords in Last Heartbeats aren’t quite imploring, but they’re pretty close. The wryly titled Teenagers in Love comes straight out of the Angelo Badalamenti school of 50s kitsch recast as noir – it sounds suspiciously satirical. The album’s title track blends Satie angst and Ray Manzarek flourishes. Haddad closes with the sweeping, Lynchian theme Welcome Home.

A casual listener might catch a bar or two of this and confuse it with new age music, or the innumerable gothboy synthesizer dudes who are all over youtube, but it’s infinitely catchier and darker. Somewhere there’s a suspense film or a refugee documentary waiting for this guy to score.

January 6, 2018 Posted by | classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment