Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Lavish, Delightfully Phantasmagorical Anne LeBaron Career Retrospective

New classical music has seldom been so darkly and playfully entertaining as composer/harpist Anne LeBaron’s lavish new double album Garden of Unearthly Delights, streaming at Spotify.

Flickering, increasingly agitated ghosts from Pasha Tseitlin’s violin and apocalyptic waves from Nic Gerpe’s piano pervade the first number, Fissure, inspired by the crack that eventually brought down Edgar Allan Poe’s House of Usher. 

Playing, narrating and rattling around, pianist Mark Robson turns in a colorful rendition of Los Murmullos, a phantasmagorical setting of text from Juan Rulfo’s horror novel Pedro Páramo. A second piano-and-violin piece, Devil in the Belfry blends the otherworldliness of Federico Mompou with scampering phantasmagoria, illustrating the diabolical clock chimes from another Poe short story, an all-too-familiar narrative of conformity and its crushing consequences. LeBaron couldn’t have chosen a more appropriate historical moment to release it.

Bassoonists Julie Feves and Jon Stehney prowl and lurk and flurry through the electroacoustic, Hieronymus Bosch-inspired Julie’s Garden of Unearthly Delights. Quick, somebody tell ICE bassoon maven Rebekah Heller, whose collection of bassoon duo pieces is unsurpassed!

The album contains two versions of the dynamic, reflective, sometimes eerily pentatonic solo harp work Poem for Doreen, a tribute to harpist Doreen Gehry Nelson. Alison Bjorkedal’s is more elegantly legato; the composer’s own is somewhat more percussive and lively.

Mark Menzies plays the stark, steady, imaginatively ornamented Bach-inspired solo violin piece Four, as well as its graphic-scored shadow piece, Fore. His interpretation of the latter has more slash and a lot more space, and fits right in with the darkest material here.

The album’s second disc begins with Is Money Money, soprano Kirsten Ashley Wiest joined by clarinetist Chris Stoutenborough, bass clarinetist Jim Sullivan,violist Erik Rynearson, cellist Charlie Tyler and bassist Eric Shetzen. The title reflects a Gertrude Stein quote with serious relevance in a year where the lockdowners are trying to crash the US economy via hyperinflation. Musically, this allusively boleroesque, picturesque piece is the album’s most cartoonish interlude, but also one of its most sinister.

Stehney returns for the solo work After a Dammit to Hell, a genial salute to a now-shuttered Alabama barbecue joint. Gerpe plays the impressionistically glittering Creación de las Aves for solo piano, inspired by the surrealist art of Remedios Varo. Soprano Stephanie Aston and baritone Andy Dwan deliver the album’s epic triptych, A – Zythum, backed by Linnea Powell on viola, Nick Deyoe on guitar and banjo and Cory Hills on vibraphone and percussion. This dissociatively layered, Robert Ashley-esque piece provides a strange and dramatic coda to this lavish and eclectic mix of material. 

January 26, 2021 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | Leave a comment

Branford Marsalis’ New Soundtrack Salutes an Iconic Blues Heroine

Continuing this month’s theme of big, ambitious projects, one of this year’s most entertaining new albums is Branford Marsalis’ original score to the film Ma Rainey’s Black Bottom, streaming at Spotify.

Although conventional wisdom says it never could have happened, a hundred years ago some of the most successful bandleaders in the world were women. Ma Rainey was the first national blues star, and paved the way for the bestselling megastar of the 20s and early 30s, Bessie Smith. It’s about time Rainey, whose theatrics and sardonic persona spoke for a generation of indomitable black women, got the props she deserved, and Marsalis delivers a score that does her justice. The production values are purist, but in the here and now: Marsalis doesn’t try to recreate any kind of rustic ambience or trebly imitation of Rainey’s iconic 78 RPM records.

Singer Maxayn Lewis delivers the songs with an expressive alto that’s grittier than Rainey’s signature, understatedly brooding delivery. The opening number, Deep Moaning Blues, sets the stage for the rest of the record, with horns, piano, bass and drums, the latter two seldom found in a recording studio at the time Rainey was making 78s. The song is also almost twice as long as anything that could be squeezed into the shellac at the time.

Marsalis and the trombone engage in a genial barroom conversation in the blues Hear Me Talking to You. The Story of Memphis Green is a haunting minor-key theme, veering in and out of waltz time, with moody clarinet carrying the melody.

Clarinet, trumpet and tapdancing take centerstage in Jump Song, a lively midtempo 20s swing tune. Leftovers, a grimly incisive minor-key solo piano theme, is the album’s most minimalist yet most haunting interlude.

Other highlights among the set pieces include the title theme, a red-neon hokum blues; the Chicago El portrayed with steady, chuffing dixieland echoes; a catchy, brassy New Orleans sway with tuba and banjo; a cheery swing tune for soprano sax and piano; an artfully orchestrated rag; a towering sax-versus-piano tableau; a steely minor-key Gershwin Summertime paraphrase, and plenty of humorous, vaudevillian bits. Fans of classic blues and jazz have a lot to enjoy here.

January 26, 2021 Posted by | blues music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | Leave a comment