Lucid Culture


A Strikingly Accessible, Dynamic Solo Album from Mivos Quartet Violinist Olivia De Prato

Olivia De Prato is a founding member of the perennially fearless Mivos Quartet and one of the most highly sought-after violinists in new music. Her technique is stunning: depending on the needs of a piece, she can deliver flash, nuance, lyricism or the kind of acidity that one often finds in the edgy kind of repertoire the quartet specializes in. And all of the above, as does throughout her new solo album Streya, streaming at New Focus Recordings. She’s playing the album release show on March 13 at 7:30 PM at the second-floor space at 1 Rivington St. at the corner of Bowery. Cover is $20.

The opening number, Samson Young’s Ageha.Tokyo gives De Prato a vast playground to air out her extended technique and effects pedals: crunching lows, enigmatic microtonal swoops, jarring scrapes, twinkly electronics, rhythm-shifting loops and subtle variations on a disarmingly simple central theme. You could call parts of this cello metal – although it’s not played on one.

The title track, a diptych by her Mivos Quartet bandmate, violist Victor Lowrie is a fragmented study in extreme dynamics: whispery harmonics, caustic close harmonies, brooding lyricism side by side with splashes of pizzicato and austere washes. Playing this to open the quartet’s show last month at the Miller Theatre, De Prato didn’t make it look easy, but clearly relished the challenge of Lowrie’s constant gear-shifting. The second half is calmer and disarmingly catchy.

Ned Rothenberg’s Percorso Insolito is a picturesque, shapeshifting pastorale that De Prato builds from a quasi-stroll to cheerily soaring flights as the sun lights up the hillside. Taylor Brook’s slow, methodically crescendoing, microtonally rich Wane is constructed out of cleverly assembled multitracks: what appear to be echoey, furtive glissandos are actually simultaneous smeared notes from the five individual voices, each in a different tuning. There’s more reverb on this piece than the others, amping up the wash of delicious overtones.

In its jaunty octaves and variations, Reiko Fueting’s Tanz.Tanz rather obliquely references both the chorale riffs woven into the famous Bach Chaconne, and also the Haruki Marakami novel Dance Dance Dance. The final piece is Missy Mazzoli’s Vespers for Violin, based on her intense, dramatic chamber work Vespers For a New Dark Age. But aside from the arresting, opening echo phrases, this electroacoustic work is considerably different, mournful motives leaping and lingering against a somber deep-space backdrop. Either De Prato is singing vocalese here, or she’s running her violin through a vocal patch. Spin this colorful mix for any curmudgeon who might dismiss avant garde music as shrill or pointless.


March 7, 2018 Posted by | avant garde music, Music, music, concert, review, Reviews | Leave a comment

Irrepressible Trumpeter Steven Bernstein Brings His Two Hottest Bands to the Jazz Standard This Week

Sexmob – trumpeter Steven Bernstein, saxophonist Briggan Krauss, bassist Tony Scherr and drummer Kenny Wollesen – have been making magically surreal, darkly cinematic sounds since the late 90s. As you will see below, good things happen when they turn up. They’re at the Jazz Standard tomorrow, March 8 and Friday, March 9 with sets at 7:30 and 9:30 PM; $30 cover isn’t too bad considering that the club has no minimums (but good food, incidentally).

Then Bernstein leads his historically-infused, hard-swinging Millennial Territory Orchestra – whose reinventions of Sly Stone songs are a real trip –  there on the 10th and 11th. Check out this lineup: Charlie Burnham on violin; Curtis Fowlkes on trombone; Doug Wieselman on clarinet; Peter Apfelbaum on tenor sax; Erik Lawrence on baritone sax; Matt Munisteri on guitar; Ben Allison on bass; and Ben Perowsky on drums. It’s as if legendary Lower East Side hotspot Tonic – where an empty “luxury” condo now stands – was still open.

Here’s what Sexmob sounded like last July in Prospect Park:

“…a wickedly amusing, entertaining score to the 1925 Italian silent film Maciste All’Inferno…it’s amazing what an epic sound trumpeter/bandleader Steven Bernstein manages to evince from the four voices in his long-running quartet…part of the equation is long, desolate sustained tones; part is echo effects and the rest of it is the reverb on Wollesen’s drums, gongs and assorted percussive implements. On one hand, much of this score seemed like a remake of the band’s 2015 cult classic album Cinema, Circus & Spaghetti: Sexmob Plays Nino Rota, especially the brooding opening sequence. With a very close resemblance to Bernstein’s reinvention of the Amarcord main title theme, the band went slinking along on the moody but trebly pulse of Scherr’s incisive bass and Wollesen’s ominously muted and-four-and tom-tom hits.

Yet as much as the rest of this new score followed the same sonic formula (or tried to – as usual this year, the sound mix here was atrocious, bass and drums way too high in the mix), the themes were more playful than that album’s relentless noir ambience. At the same time, Bernstein’s uneasy but earthily rooted dynamics added a welcome gravitas to the movie’s vaudevillian charm. In brief (you can get the whole thing at IMDB): strongman Maciste, stalked by the devil, ends up in hell, fends off all sorts of cartoonish human/orc types and ends up having a potentially deadly flirtation. All the while, he’s missing his true love and family topside. Will he finally vanquish the hordes of tortured souls hell-bent into making him one of their own?

Wollesen built one of his typical, mystical temple-garden-in-the-mist tableaux with his gongs, and cymbals, and finally his toms, to open the score. It’s a catchy one, and the hooks were as hummable as the two main themes were expansive. In addition to the many variations on the title one, there was also a funky bass octave riff that subtly pushed the music into a similarly hummable uh-oh interlude and then back, spiced here and there with screaming unison riffs from the horns and one achingly menacing spot where Krauss mimicked guitar feedback. But the scrambling and scampering ultimately took a backseat to gloom. For this band, hell is more of a lake of ice than fire.”

They’re saving the fire for the Jazz Standard gigs.

March 7, 2018 Posted by | jazz, Music, music, concert | , , , , , , , , , , , | Leave a comment