Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Devious Humor and Poignancy on Violinist Mark Feldman’s New Solo Album

Violinist Mark Feldman has been a staple of the downtown New York jazz scene since the 90s, notably in his long-running duo with pianist Sylvie Courvoisier. Like innumerable artists during the lockdown, he’s put out a solo album, Sounding Point, streaming at Bandcamp. It’s incisive, purposeful and sometimes haunting, everything the artists he’s played with have sought him out for. But there are just as many moments here that border on hilarious. Feldman’s sense of humor has seldom come across so deviously as it does on this album.

Some of these pieces are built around a single melody line, others are judiciously multitracked. The opening number, As We Are features varations on a coy “here we go!” theme, Feldman building to his usual erudite mix of extended technique and economical melodicism, laced with harmonics, swells and delicate pizzicato. The album’s title track has plaintive, spacious phrases over delicately fluttering sustained lines.

Warriors is an amusingly ornamented multitracked piece including but not limited to swirly glissandos, a plucky march, pregnant pauses, hints of darkly rustic blues and Appalachia: it could be completely improvised. Unbound has a bit of a scramble, calmly whistling buffoonery, and a sly classical quote or two.

The album’s big, almost ten-minute epic is Viciously, which is aptly titled, horrified cadenzas emerging and suddenly giving way to spare, pensive variations on a blues riff, surreal glissandos and strangely muted echoes. Rebound is arguably the album’s funniest number, a mashup of echoey extended technique and all sorts of cartoonish japes.

Maniac is more dissociative than frantic, a playful pastiche of concise riffs. Feldman’s final number is titled New Normal: other than being more ghostly and disturbingly furtive than the other tracks here, it’s impossible to read any references to totalitarianism, surveillance or death by lethal injection into it. Violin jazz fans, and anyone with a sense of humor, should check this out.

February 10, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment

Richly Disquieting Music From Nomi Epstein

Pianist Nomi Epstein writes magical, otherworldly, spacious music that sometimes brings to mind Federico Mompou, other times Messiaen. The piano pieces on her new album Sounds – streaming at Bandcamp – linger with an often mournful, sparse belltone ambience. These works are deceptively minimalist: the way Epstein slowly shifts between relentlessly unsettled harmonies is artful to the extreme. She keeps the pedal down for maximum resonance.  If there was any sound tailor-made for the unreality and immersive angst of the lockdown, this is it.

The first composition is Till For Solo Piano, played meticulously by Reinier van Houdt. The obvious antecedent seems to be Satie’s Vexations; the way Epstein subtly shifts harmonies while maintaining a creepy, bell-like ambience is as masterful as it is hypnotic.

Solo for Piano part I: Waves is aptly titled, its graceful series of low lefthand rumbles building a picturesque portrait of water washing a beach at night, and slowly brightening from there. The minute dynamic shifts in the brooding, steady conversation between left and righthand in the uninterrupted, eighteen-minute part two, Dyads are more celestially captivating. Again, Satie’s Vexations comes to mind

Van Houdt returns to the keys for the concluding number, Layers for Piano, with its contrasts between stygian reflecting-pool resonance in the lefthand with slowly shifting, spare, unsettling close-harmonied accents in the right. Occasional flinging gestures in the the upper registers dash any hope of a persistent, meditative state.

There are also two chamber works here. For Collect/Project, a hazy, lighthearted electroacoustic piece featuring vocalist Frauke Aulbert with Shanna Gutierrez on bass flute is ridiculously funny in places. And the composer herself plays the album’s sparest piano on the title track, Eliza Bangert’s flute and Jeff Kimmel‘s bass clarinet providing nebulous wave motion and a mist of overtones behind her. What a stunningly individualistic and often haunting album: let’s hope Epstein can continue build on what promises to be a brilliant body of work.

February 10, 2021 Posted by | avant garde music, classical music, country music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment