Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Purist, Upbeat, Dynamically Retro Swing Songs From Gemma Sherry

Singer Gemma Sherry escaped her native Australia before the lockdown. Considering how the lockdowners have turned the country into the Southern Hemisphere’s North Korea, she was lucky to get out when she did. On her sarcastically titled album Let’s Get Serious – streaming at Bandcamp – she shows off a purist retro 50s sensibility and an often devious sense of humor. Musicians love to play on records like this because it gives them a chance to cut loose and have fun, and Sherry is contagious when it comes to that.

Sometimes that humor is pretty broad, sometimes it’s more subtle. With her irrepressibly chirpy, cheery delivery, Sherry plays up the hokum and innuendo in the album’s opening number, Blossom’s Blues. So do pianist Rick Germanson and guitarist Paul Bollenback, the latter doing a little B.B. King flutter before nailing one of the punchlines.

Sherry approaches Give Me the Simple Life with a more pillowy delivery as the band strut behind her, propelled by bassist Eric Wheeler and drummer George Coleman Jr. The addition of Joseph Doubleday’s vibraphone in the spare, boleroesque take of Too Much in Love to Care gives it an unexpected, understatedly lurid Blue Velvet lounge feel.

Likewise, the delicate take of Try Your Wings, beginning as a wistful guitar-and-vocal duet, is a heartfelt change of pace. Sherry also does much of The Alley Cat Song as a jaunty duet with Wheeler, She plays up more wistful self-effacement than snideness in the Blossom Dearie classic The Gentleman Is a Dope (for a badass version that’s 180 degrees the opposite, check out Joanna Berkebile’s new recording).

There’s striking modal sternness in Why Don’t You Do Right, fueled by Germanson’s resonant, incisive chords and Bollenback’s biting solo: this Great Depression-era hit has special resonance in a year where forty percent of New Yorkers can no longer pay rent. Sherry drifts back into slinky latin noir in Whatever Lola Wants, Germanson relishing the role of creepy lounge lizard. It’s the best song on the album.

The group give a chipper early 50s feel to Straighten Up and Fly Right, complete with drum breaks and spare vibes. It’s hard to disassociate Sherry’s remake of Go Away Little Girl from a certain version that plagues mallstore radio mixes. She winds up the album with a tiptoeing, lighthearted take of The Doodlin Song, which will definitely drive the party poopers out of the room.

January 6, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment

The Silkroad Ensemble Release a Haunting, Surreal New Osvaldo Golijov Epic

Over the past practically three decades, the Silkroad Ensemble have been the world’s great champions of a blend of music from south Asia, through the Arabic-speaking world and the west. Their latest album, Falling Out of Time – which hasn’t hit the web yet – comprises a single, lavish, thirteen-part tone poem by contemporary classical composer Osvaldo Golijov, which hauntingly dovetails with the group’s esthetic. It may be the most stunningly accessible orchestral work the composer has ever written. It’s certainly the most eclectic, drawing on such diverse idioms as Indian music, classical Chinese theatre, jazz balladry and sounds of the Middle East.

This is a frequently operatically-tinged work, tracing a surreal, grim narrative surrounding the death of a child. Mythical creatures and archetypes are involved. The introduction, Heart Murmur rises from a brooding, skeletal Arabic-tinged taqsim to a darkly catchy, circling ghazal-like melody over a dancing, jazz-inflected pulse and the achingly intertwining voices of singers Biella da Costa and Nora Fischer.

Night Messengers is a stark, increasingly imploring nocturnal tableau, the womens’ voices wary and enigmatic over an all-star string quartet comprising half of Brooklyn Rider – violinist Johnny Gandelsman and violist Nicholas Cords – with violinist Mazz Swift, and cellist Karen Ouzounian.

That sudden, stratospherically high harmony in the enigmatic Come Chaos is a real shock to the system: is that a voice, Wu Tong’s sheng, or a theremin? No spoilers!

Uneasy, fragmentary flickers from the strings followed by Wu Man’s pipa join to introduce the simply titled Step, rising to a harrowing intensity. The Lynchian dub interlude afterward comes as another real shock.

Shane Shanahan’s tabla and the singers’ acidic harmonies take over the hypnotic ambience as In Procession, a portrait of mass bereavement, gets underway, Kayhan Kalhor’s muted, desolate kamancheh solo at the center amid the string quartet. Troubled atmospherics waft and eventually permeate Walking, the suite’s drifting, central elegy, lowlit with echoey kamancheh, Dan Brantigan’s desolate trumpet and Shawn Conley’s spare jazz-inflected bass

An ambient lament featuring spiky pipa in contrast to Jeremy Flower’s synth foreshadows Fly, which with its aching ambience and jazz allusions mirrors the centerpiece. Go Now, the suite’s most immersive, restlessly resonant track, features a long, plaintive kamancheh intro, a similarly aching, vivid duet with the violin. Da Costa reaches for the rafters with the pipa trailing off morosely at the end.

Akeya (Where Are You) is a dissociative mashup of orchestral 1950s Miles Davis, Etta James moan and kabuki theatre, maybe. The ensemble hint at rebirth and redemption in the closing tableau, Breathe. Is the nameless dead boy at the center of the story a metaphor for the hope and joy that was stolen from us in 2020? What a piece of music for our time!

January 6, 2021 Posted by | classical music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment