Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Latvian National Choir Deliver Rapture and Transcendence

Saturday night in Hell’s Kitchen, in their first American performance since their 2010 Lincoln Center concert, the Latvian National Choir sang a spellbinding program of both iconic and new material from their native land. Conductor Māris Sirmais was a calmly triumphant presence in front of the ensemble, working the dynamics meticulously in a program packed with lustre and atmosphere but also percussive grooves, labyrinthine counterpoint and choreography. The ensemble was called on for a lot more than a choir is typically required to, and delivered it.

Latvian music is commonly perceived as otherworldly and often rapturously hypnotic, and while those qualities were front and center throughout the evening, the compositions on the bill transcended any association with a region or era. The most dramatic, at least as presented by the choir, was Vytautas Miskinis’ O Salutaris Hostia, jeweled with waves of shapeshifting, rhythmically challenging contrapuntal melodies that rippled throughout the ensemble as two groups slowly made their way down the stairs on both sides of the audience for extra surround-sound ambience.

With her bell-like clarity, soprano Inese Romancane was a particular standout, notably in the one American piece on the program. Eric Whitacre’s aptly titled, ambered Lux Aurumque. She also took centerstage along with fellow sopranos Darta Treja, Sanita Sinkevica and Irina Rebhuna in the American premiere of Raimonds Tiguls’ Moon Light Sound Design, a pointillistic, gamelanesque mini-suite featuring the composer himsef on hang, a drum the size of a large turtleshell that produces steel pan-like ripples and pings. Rebhuna’s dynamically-charged solo was the highlight of Jekabs Janchevskis’ misterioso, ethereal Odplyw, another US premiere.

Arvo Part was represented by the characteristically terse, rapt The Deer’s Cry and the less characteristic, plainchant-tinged Which Was the Son Of. Likewise, modernity and antiquity contrasted with Vaclovas Augustinas’ Cantata Domino and Ugis Praulins’ Veni Sancte Spiritus. Aivars Krastins and Eduards Fiskovics sang while adding an unexpectedly bouncy edge with small tam-tam drums in yet another US premiere, Gundega Smite’s Song of Stone, which came across as more of a lively quarrymens’ theme than any kind of monolithic presence. And Eriks Esenvalds’ Northern Lights, with an affectingly austere solo by tenor Janis Krumins, reverted to the polyrhythmic magic of the opening number. Veljo Tormis’ Ingrian Evenings wound up the bill on an enveloping note, giving Romancane a launching pad for the evening’s most pyrotechnic display of sheer vocal power. There were two encores, both new arrangements of iconic folk songs: Riga Dimd, arranged by Janis Cimze, and Put Vejini, the Latvian national song, in a boisterious arrangement by Imants Raimins. What a treat it was to be able to catch this magical ensemble, especially considering how eclectic and downright rare the material was this time out. Keep your eyes out for an upcoming Lincoln Center appearance sometime in the future.

April 18, 2015 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | Leave a comment

Amir ElSaffar Unleashes a River of Sound at Lincoln Center

Chicago-born, New York-based composer Amir ElSaffar books a comfortable, classy joint in the financial district, Alwan for the Arts, a hotbed for cutting-edge new music coming out of the Middle East and cross-pollinating with other styles from around the world. This evening at Lincoln Center, the trumpeter-santoorist-singer debuted his new suite, Not Two with a mighty seventeen-piece ensemble centered around the members of his regular quintet Rivers of Sounds: drummer Nasheet Waits, bassist Carlo DeRosa, buzuq player Tareq Abboushi, oudist/percussionist Zafer Tawil and tenor saxophonist Ole Mathisen. It was a magically epic performance, one which will momentarily be recorded and which is scheduled to be released on vinyl within the year. That’s major news.

As the group slowly rose with a pensively emphatic, mournful signal from the trumpet, were they going to continue in the direction of long-toned massed improvisation, a slightly Arabic-toned take on Karl Berger or Butch Morris? As it turned out, no. The opening segment grew to a sort of take on the distant, august majesty of a theme from another cross-pollinator, Hafez Modirzadeh, with whom ElSaffar has memorably collaborated. As the work went on, multiple themes rose and fell, slowly crescendoing long-toned melodies against an uneasily rippling, relentlessly rhythmic backdrop, Waits augmented by several percussionists including Tim Moore (of the transcendently good Middle Eastern jamband Salaam). ElSaffar’s sister Dena – leader of that group – supplied what was arguably the night’s most plaintive moment, playing achingly raw, sustained lines on her joza fiddle, also adding austere oud and atmosphere on viola and violin. DeRosa did the heaviest lifting of anybody in the ensemble, working up a sweat with endlessly vamping, incisively circular riffs, a couple of times racewalking his scales as he pushed the tunes into a couple of lickety-split hardbop swing interludes.

Abboushi, Tawil and fellow oudist George Ziadeh each got to take long, crescendoing solos against a hushed, anticipatory backdrop, ElSaffar adding more rippling, suspenseful flourishes on his santoor than he did on trumpet. ElSaffar built Gil Evans-like lustre, from the bottom of the sonic register – bass, cello and JD Parran’s bass saxophone – to the very top, with the santoor, violin, vibraphone and pianist Craig Taborn’s insistent, repetitive close harmonies. The rhythms would shift artfully from a stately dirge, to galloping triplets or a circling gait evocative of Ethiopian folk music. The themes embraced Mohammed Abdel Wahab-esque classical  Egyptian anthemicness as well as lingering, otherworldly, minimalist Iraqi melodies and a couple of romps through pretty straight-ahead American postbop tinged with Monk-like modalities. They took it up for an explosive outro and then slowly wound it down at the end. ElSaffar has enjoyed a long association with Lincoln Center, who co-commissioned this work, another impressive notch in the  belt for both.

This show is typical of the kind of coucerts in the atrium series at Lincoln Center: an abundance of styles from across the spectrum and around the world. One particularly enticing upcoming show is the JACK Quartet‘s appearance on April 23 at 7:30 PM where they’ll be playing works by John Zorn, Missy Mazzoli, Caroline Shaw and others.

April 16, 2015 Posted by | concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews | Leave a comment

Cutting Edge Sounds at This Year’s MATA Festival

Early in the second part of this evening’s portion of this year’s MATA Festival at the Kitchen, the audience looked on expectantly as a steadily oscillating timbre echoed through the auditorium. It was the motor rewinding the video screen above the stage. Was this part of the program, or just incidental noise? Moments like these are why the festival is worth checking out, year after year. They take more chances than pretty much anybody in the avant garde music world and cast a wider net than most, both in terms of finding global programming, and simply sonics. Could an electric motor be music? The answer, more often than not here, seems to be, “why not?”

The night got off to a hilarious start with a US premiere, Mirela Ivecevic‘s Orgy of References. Mezzo-soprano Abigail Fischer made the most of its over-the-top satire of music-academy pretentiousness, delivering it with operatic high camp against a similarly sardonic mashup of florid dramatic themes, flurries of crowd noise and oration. The text was Ivecevic’s own resume, Fischer having a great time with every gushing, adulatory adjective – and then relished the chance to pronounce the word “oeuvre.” On one level, Ivecevic can personally relate to how misleading and utterly useless a composer or musician’s CV can be, since she books an ongoing series in her native Croatia. On the other hand, she got Abigail Fischer not only to namecheck her but to sing her resume. If that’s not “making it” in the avant world, you figure out what is.

Another highlight and US premiere was Jasna Velickovic‘s solo performance on an instrument of her own invention, the velikon, an amplified board on which she manipulates a series of magnets and coils producing oscillations which grow lower in timbre as they become more magnetized. What began as blips and beats slowly took on jawharp-like warp and then grew lower and lower until she was approaching stygian ocean liner diesel depths. Was she going to take it all the way to where there would be no sound, only subsonics? Not quite. Watching this unfold – with Velickovic’s perfect, practically metronomic timing, as she played a furious chess game of sorts with the objects on the board – was as thrilling as it was to hear. It was like a more smallscale take on Eli Keszler‘s similarly murky sonic explorations.

Even more intense to witness was dancer Melanie Aceto, her wrists and ankles attached to fishing line that manipulated strings inside a piano via a series of pulley assembled overhead. Performing the New York premiere of Megan Grace Beugger‘s Liaison, Aceto began carefully and fluidly before evoking the relentless angst of a prisoner straining against her bonds. And the choreography actually produced genuine melodies, albeit simple ones, typically low drones and hammering motives (the low A and B flat were conjoined and attached to one of the pulleys) against keening high overtones. Which would rise, raising the angst factor every time Aceto retreated back toward the piano after another seeming attempt to break free of her shackles. As the frame holding the pulleys over the piano trembled and swayed, the spectre of real horror – Aceto cutting a carpal vein or even her jugular, as she pulled and twisted – appeared within the realm of possibility. As far as sheer fireworks were concerned, it was impossible to top – and happily, there was no bloodshed.

There were also a couple of other works on the program, one a brief, mechanistically blippy audio-video montage of video images – ostensibly taken during the first Gulf War – sped up long past the point of unrecognizability. Maybe that was the point – although that point would have been lost if there hadn’t been program notes for it. There was also a droning piece by the Montreal trio of Adam Basanta, Julian Stein and Max Stein that paired long sustained electronic tones, simple chords and sudden electronic cadenzas with amplified lamps of assorted sizes and sounds. Given the three guys onstage with their laptops, there were umpteen opportunities for interplay and drollery that went by the board. Rather than any kind of conversation, amusing or otherwise, it evoked the experience of living in a building with bad wiring. Somebody comes home, turns on the AC…everybody on the hall loses power. Then somebody hits the breaker box and it’s back.

The MATA Festival continues through April 18; the remaining schedule is here.

April 15, 2015 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | Leave a comment

Bob Belden’s Noir Nightscapes Reimagine Miles Davis

Friday night at the Tribeca Performing Arts Center at the Borough of Manhattan Community College’s sonically immaculate auditorium, reedman and Miles Davis scholar Bob Belden’s quintet, Animation, revisited the lingering unease of Miles Davis’ Birth of the Cool, reinventing the music as a sort of update on Morricone 70s crime jazz, playing along to a chillingly here-and-now series of black-and-white video pieces. Shot by Belden himself on a blustery night last summer, the restless bluster of black leaves against neon glare or distantly flickering streetlights vividly evoked the same urban angst that permeated Davis’ original. Belden’s point was that this era’s juxtaposition of real estate bubble luxe against crushing poverty and burgeoning racism mirrors similar struggles and stress experienced by everyday New Yorkers during the era of Robert Moses and Joe McCarthy. The group – Belden on soprano sax and flute, Nord Electro keyboardist Roberto Verástegui, bassist Jair-Rohm Parker Wells, trumpeter Pete Clagett and drummer Matt Young – drove that point home, hard.

The original Miles themes were transient to the point of being practically illusory: from the git-go, it was obvious that Belden had reimagined this music as a suite. During a pre-concert Q&A with organizer Willard Jenkins, Belden more than hinted that this music would be intense. Relentless is more like it. Young’s deftly machinegunning rhythms, sometimes morphing on a dime from one odd meter to the next, other times evoking a more aggressive, less pointillistic John Hollenbeck, underpinned these long, purposefully stalking midnight strolls. Verastegui subtly varied his timbres from a eerie, vintage Rhodes echo to outer-space warp on an absolutely unrecognizable, twistedly futuristic take of Jumpin’ with Symphony Sid, aptly set against the bombardment of Times Square advertising images. It seemed to ask, is this all we have to show for sixty years of ostensible progress?

Wells interestingly got the eeriest moments of the night with his stately horror-film tritones and nonchalantly menacing chromatic walks during a long solo. Both Belden and Clagett ran their horns through a raw wee-hours mist of reverb, evoking the same kind of primitive processing – as on the Escalier Pour L’Echafaud soundtrack – that  made Davis’ music the essence of late 50s noir. Belden alternated between aching, sustained lines and anxiously clusters of bop, from the vamping bustle of the opening number, Move, through the only number where the band really made any attempt to match the trad, blues-based melodicism of the originals, Boplicity. Clagett got plenty of choice moments to evoke and revel in Miles-style nocturnal resonance. In between, they switched between white-knuckle Taxi Driver soundtrack intensity, chrome-chill 90s trip-hop and occasional echoes of In a Silent Way-era early electric Miles, through long, warily exploratory versions of Darn That Dream, Why Do I Love You and Budo (which Belden introduced, appropriately, as “Hallucination”). The highlight of the night came early in the second set, with a plaintively rapturous, considerably slower and more expansive take of Godchild.

Belden, like Davis and Duke Ellington has talent for visuals, in his case film. Anyone who’s spent time walking along Central Park West in the wee hours – especially in the pre-bubble decades – will resonate to Belden’s apprehensive shots of open windows, subway staircases and deserted streets lined by iron fences which offer no way out in case of trouble. It appears the concert was recorded: what a great DVD it would make!

Some backstory: Belden and the band were especially amped in the wake of being the first American band to play in Iran since the late 70s. As he told it, there’s actually an audience for jazz there (German label ECM Records has an Ikanian affiliate who record and release a small handful of jazz acts there), and Belden’s final night there, a concert in Teheran, received thunderous ovations. “And we did the same thing over there that we do here,” he noted dryly, also taking care to relate that the Iranians he encountered are in so many respects indistinguishable from Americans. They suffer through traffic jams, have close-knit families and seem eager to interact with westerners. And they love jazz. Not to beat a point into the ground, but these are the people who would be displaced or killed should the Obama accords get pushed off the board by the rightwing lunatic fringe.

April 14, 2015 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | 1 Comment

Getting Up Close and Personal with Bjork at MOMA PS1

It must be as much fun for the museum staff to watch people watching Stonemilker – the new virtual reality piece by Bjork and filmmaker Andrew Huang at MOMA’s PS1 in Long Island City – as it is for the viewers themselves. Not to spoil the experience, but there’s more than one Bjork in it and she might be somewhere other than in front of you. Which makes for a, um, head-bobbing good time.

It’s a music video, and you’re in it, at the very center. Vertical movement won’t change your perspective much but horizontality will (although the stool you’re sitting on will limit that, probably for the better). The irrepressibly puckish Icelandic songstress/environmentalist is backed by a lush string orchestra in this rhythmically tricky, epically enveloping neoromantic art-rock piece. Its gist is that she wants to “synchronize emotions” with you. The scenery fits the music: it’s more majestic than your typical beachy scene. Bjork is as playful and fun as you would expect, and she gets right up in your face. And turns out to be considerably more petite than she seems onstage.

The 360 Bjork experience continues daily through May 17, Thursday through Monday, noon to 6 PM in the dome at MOMA PS 1, 22-25 Jackson Ave. in Long Island City. It’s about a ten-minute walk up Jackson Ave. from the Vernon-Jackson stop on the 7 train; those on the G should take it to 21st/Van Alst. LIC residents get in free; otherwise, it’s $10/$5 stud/srs, or $5 if you have a MOMA ticket from the previous two weeks. While you’re there, you should also check out the many current-day revolution-themed video installations as well as Simon Denny’s LMAO satire of technosupremacist mythmaking, The Innovator’s Dilemma, and Samara Golden‘s surreal, vertigo-inducing, three-floor cutaway The Flat Side of the Knife.

April 13, 2015 Posted by | avant garde music, classical music, Film, Music, music, concert, New York City, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The New York Scandia Symphony Sell Out Symphony Space

Many years – maybe decades – before Alan Gilbert and the New York Philharmonic were thrilling audiences with the sweep and majesty and blustery fun of Carl Nielsen’s symphony cycle, maestro Dorrit Matson was doing the same thing and more with the New York Scandia Symphony. She and the orchestra specialize in both classical repertoire and new music from the Nordic countries. Much of what they play is rare and relatively obscure, at least south of where the aurora borealis is flickering. Which makes them a unique and important part of this city’s cultural fabric.

And they’re not such a secret anymore: from the looks of it (a few empty seats in the balconies), their Thursday night concert at Symphony Space was sold out. The orchestra rewarded the crowd with rousing, dynamic versions of material that for the most part is not typical for them. This time out, the program wasn’t about discovery as much as it was revisiting some of Scandinavia’s greatest global classical hits via a joint 150th birthday salute to both Nielsen and Jean Sibelius.

The one lesser-known piece on the bill was Nielsen’s quirky, strikingly modernist Flute Concerto, quite a departure from the late Romantic material he’s best known for, but characteristically flush with subtle (and sometimes not-so-subtle) good humor. Soloist Lisa Hansen held the center with minute command of dynamics while jaunty motives made their way through a characteristically labyrinthine arrangement that was closer to a series of funhouse mirrors than the often stormy intensity of Nielsen’s earlier works. One of those on the program, the Overture from the opera Maskarade, balanced stiletto precision from the strings against the goodnatured rambunctiousness of the brass section (this orchestra’s brass has a visible camaraderie and chemistry, and will sometimes perform as a separate ensemble).

Drama, suspense and foreshadowing permeated the lushness of Sibelius’ At the Castle Gate (from his Pelease et Melisande suite). Matson brought the drama up several notches further with a roller-coaster ride through his Karelia suite, unleashing the triumph of the first movement, dipping to a long, enveloping sweep upward and then a graceful balletesque pulse that alternated with mighty stadium bombast. The orchestra closed with a similarly triumphant yet warily colorful take of Finlandia, leaving no doubt that this was written not as a piece of nationalistic pageantry but as a slap upside the head of Russian Tsarist aggression.

In addition to performing in concert halls, The New York Scandia Symphony puts on an annual free summer series at Fort Tryon Park, typically on Sunday afternoons in June: check back at their site for details.

April 12, 2015 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , | 1 Comment

Jasmine Lovell-Smith Brings Her Bright, Vivid Songs Without Words to Gowanus Tonight

Dubious segues aside, there’s an intriguing jazz twinbill at Shapeshifter Lab in Gowanus tonight starting at 7 with some no doubt vigorous improvisation, saxophonists Jon Irabagon and Matt Bauder ripping it up with drummer Tomas Fujiwara. They’re followed at around 8 by New Zealand-based soprano saxophonist Jasmine Lovell-Smith and her vividly tuneful, cinematic jazz project, Towering Poppies. The lineup for this show includes Cat Toren on piano, Adam Hopkins on bass and Kate Gentile on drums; cover is $10.

Lovell-Smith’s debut album, Fortune Songs, with a different cast – Toren on piano, Russell Moore on trumpet, Patrick Reid on bass and Kate Pittman on drums – is streaming at Bandcamp. Lovell-Smith likes anthemic hooks, resonant long-tone harmonies and glistening, neoromantically-tinged piano. Tempos are on the slow side; the group maintains a close focus on interplay and emotional content, eschewing any kind of ostentatious soloing. A gentle, springlike atmosphere pervades this warmly thematic collection.

The opening track, Confidence (One) sets the tone with its low-key twin-horn theme over a muted, syncopated pulse – Pittman’s misterioso cymbal and snare work is just plain fantastic. A lively dancing theme eventually moves to the bass; sax and trumpet intertwine deftly as it winds out. The group follows that with a glimmering tone poem of sorts, Darkling I Listen, then Let Go Be Free, which develops the theme with a lingering Miles Davis gravitas over a carefully strolling, cleverly mutating pulse, Pittman again in the foreground with some neat brushwork.

Confidence (Two) refracts the album’s opening melody through shifting rhythms and a spare, somewhat disassembled arrangement, Lovell-Smith’s crystalline solo juxtaposed against a constantly mutating backdrop. After that, there’s a free interlude where individual instrumental voices prowl around while Lovell-Smith holds the center, edging toward an anthemic crescendo. Moore’s carefree but purposeful trumpet and then Lovell-Smith’s tenderly lyrical sax take centerstage in A Nest to Fly, anchored by Toren’s lowlit, sustained piano and Pittman’s increasingly triumphant drum flourishes.

Lover’s Knot takes its time rising from an uptight circular piano theme, Lovell-Smith finally introducing a welcome, gentle respite. The album’s last number, When the Tide is Right bounces along with yet more artful cymbal-and-snare work from Pittman, dancing steps from Toren and shiny terseness from the horns. This is an auspicious opportunity to get acquainted with a distinctive new voice in jazz composition and her simpatico cast.

April 7, 2015 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

The Tarras Band Bring Their Haunting, Exhilarating, Historically Rich Music Back to Barbes

“Lemme tell ya about Naftule, he was the biggest drunk of all of them,” pianist Pete Sokolow told the crowd at his most recent Barbes show. He was referring to Naftule Brandwein. “He was a real wildman, sort of the Sidney Bechet of klezmer clarinet.”

Sokolow has plenty of stories like that, and he loves to share them. He’s the leader of the Tarras Band, the all-star ensemble who play the repertoire of his old bandmate, the brilliant clarinetist Dave Tarras, along with music associated with other cult heroes from the Jewish jazz demimonde of the 1950s and further back. Sokolow self-effacingly calls himself “Klezmer Fats,” not because he’s overweight, but because he bridges the gap between Fats Waller and centuries of dance music from throughout the Jewish diaspora. He and the band are back at Barbes tomorrow night, April 7 at 7 PM opening for Slavic Soul Party, who made a name for themselves bringing funk and hip-hop into Balkan brass music, but more recently have been reinventing the Duke Ellington catalog. The whole night is bound to be pretty amazing.

What’s hard to figure out is how the music the Tarras Band plays somehow hasn’t reached a broader audience. It’s deep, it’s otherworldly, it’s historically rich and it’s incredibly fun. At their show last month, Sokolow reaffirmed his reputation as a living archive of Jewish music history as he chatted up the crowd and sparred with his bandmates, verbally and musically. When Erik Satie was writing his Gnossiennes and Gymnopedies, was he stealing ancient Jewish themes….or was Sokolow subtly interpolating Satie into his mesmerizing cascades of eerie passing tones? Maybe both? It was hard to tell.

Notwistanding his reputation as a hardass, there are few musicians who are aware of Sokolow who wouldn’t jump at the chance to play with him. This show featured Michael Winograd on clarinet, who shares Tarras’ crystalline tone and silky legato: the way he plays, even at escape velocity, it’s a wave that just happens to move up and down in microseconds. Drummer Dave Licht was all about counterintuitive accents and wryly vaudeville-tinged fun, occasionally smacking an upside-down cymbal atop his kickdrum for good measure. Bassist Jim Guttman dug in deep and darkly and bowed most of his lines until the end, when the music hit a swing groove and stayed there. Trumpeter Ben Holmes harmonized intricately with Winograd when he wasn’t opening a song with a moody, hauntingly Middle Eastern-tinged improvisation.

Early in the set they did a World War I-era narrative about Jews fighting in the trenches, along with alternately sizzling and brooding originals by Winograd and Holmes. Sokolow illustrated the similarities between a Russian sher and a Virginia reel: the call-and-response and “reptile dance” at the end, where everybody forms a line. They delved into the bristling, edgy catalog of Sam Musiker, an early proponent of klezmer jazz who was way ahead of his time, dead at 48 in 1963 – the same year as Brandwein, Winograd grimly reminded. From there they romped through a tango and a medley from Tarras’ cult classic 1955 Tanz album, a commercial flop now considered a landmark of genre-smashing esoterica. And as much as what this band plays is very distinctly Jewish, with lots of chromatics and minor keys and humor and irony, it’s music that would resonate with anyone who likes Gogol Bordello, or any of the current crop of circus rock bands. Be the first in your tribe to get to Barbes and find this band playing your soul.

April 6, 2015 Posted by | gypsy music, jazz, Music, music, concert, review, Reviews, world music | Leave a comment

Another Great, Tuneful Pastoral Jazz Album From Old Time Musketry

Old Time Musketry‘s 2012 album Different Times was one of that year’s most enjoyably original debuts in any style of music. The group’s second release, Drifter – streaming at Bandcamp – solidifies their presence at the front of the pack of pastoral jazz groups along with the Claudia Quintet, Hee Hawk and Jeremy Udden’s Plainville. For those who don’t have family obligations or such this Eastover (Passter?) weekend, the band are playing the album release show on April 5 at 8:30 PM at Cornelia St. Cafe; cover is $10 plus a $10 minimum.

Multi-reedman Adam Schneit and accordionist/pianist JP Schlegelmilch write the songs – and they are songs in the purest sense of the word. The kinetic, purposeful, often funky rhythm section comprises bassist Phil Rowan and drummer Max Goldman (who plays with a similarly colorful, individualistic flair in pianist Danny Fox‘s long-running trio).

The album’s opening track, February March, has unexpectedly trad tinges, although the extended technique and carnivalesque flourishes that open it offer no hint to where this jaunty strut is going. From New Orleans or thereabouts, the quartet takes it outside, then back, cleverly expanding on a tight steel-driver rhythm. Meanwhile, Schneidt takes a balmy, carefree but terse flight overhead.

The album’s high point, Kept Close is sort of the Claudia Quintet with more straight-up rhythm, building out of a resonant, minimalist piano theme to moody neoromantic pastoral colors; Schneidt’s insistently straightforward, midrange alto sax solo is adrenalizing, to say the least. From there they hit some tricky, funky metrics with the quirky Odd Ray, sort of a mashup of Rudresh Mahanthappa and Guy Klucevsek, before returning to a swaying, bucolic feel with the album’s title track, accordion and alto sax interweaving as they do throughout much of the album.

They follow the twisted, Monkish miniature Weird Waltz with The Turtle Speaks, a triumphantly cinematic anthem -there’s no need to stress if you’ve got a hard shell! Guest trombonist Brian Drye builds lushly bronzed harmony in tandem with the accordion and Schneidt’s clarinet as the song rises more animatedly than you’d expect from a lowly pond reptile.

The aptly titled Pastorale is a showcase for Goldman’s majestically suspenseful rumbles and cymbal work: a brief bolero-ish interlude after a spiraling accordion solo is one of the album’s most unexpected treats. Two Painters, a partita of sorts, bookends a funkily minimalist, Steve Lacy-ish theme with wary, melancholy-tinged atmospherics. The final number, Transmitter Park captures a caffeinated Flyover America workday angst, through a shuffling, funky theme to one of the group’s signature catchy choruses; this particular day ends well. Another triumph from a group with chemistry and strikingly vivid tunes, who should be vastly better known than they are.

April 4, 2015 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

An Innovative Composer Portrait Series at the Miller Theatre

“the venue has consistently featured programming that’s forward-thinking and fresh,
often spotlighting little-known and on-the-cusp artists”
Time Out New York

Miller Theatre at Columbia University School of the Arts

announces an innovative new series:

CANINE COMPOSERS

Miller Theatre’s signature Composer Portrait series expands,
embracing a whole new sonic palette with works by and for dogs.
WATCH VIDEO

SOPHIE

Thursday, April 16, 2015

West Highland White Terrier Sophie draws inspiration
from food, cats, and the techniques of musique concrète
in this evening-length exploration of her work

featuring
JACK Quartet

and continuing with two more concerts this spring:

TUCKER 

Thursday, April 30, 2015
New works for tennis ball and cello from the innovative Golden Retriever

 POPPET 

Thursday, May 14, 2015 
Timbres mix and mingle in Poppet’s Fetch, a six-part vocal work for
Pomeranian, Bulldog, Schnauzer, Dalmatian, Poodle, and Great Dane

All concerts will be held at Miller Theatre
(2960 Broadway at 116th
 Street) and begin at 8:00pm

Series Season Tickets: $64-$92
Adults: $25-45 Puppies with valid ID: $15-27

From Miller Theatre Executive Director Melissa Smey:
“Miller Theatre is committed to being a leader in new music, connecting adventurous composers and audiences. Also, I really love dogs. So I couldn’t be more thrilled to make this connection possible. I’m proud to say that Miller Theatre remains on the cutting edge of contemporary music.”

CANINE COMPOSERS

Man’s best friend takes the stage this spring, as Miller Theatre opens the doors to a brand new audience with Canine Composers. These musical mammals have built up refined auditory senses through years of intensive whistle trainings and study with verbal commands, as well as centuries of breeding. They have unlocked previously underexplored sonic registers, a skill matched by a happy-go-lucky attitude in tackling the most complex music. Plus, they’re dogs.

Canine Composers

Thursday, April 16, 2015, 8:00 p.m.

SOPHIE

Miller Theatre (2960 Broadway at 116th Street)

An on-going collaboration with the JACK Quartet—including numerous walks, games of fetch, and sessions spent dozing lightly on the sofa—culminates with the world premiere of Sophie’s new String Quartet No. 3. The piece, which will receive its world premiere to kick-start Miller’s new series, really captures “Bark. Bark bark bark!” according to the composer, and will be accompanied by several of her solo works.

PROGRAM:

String Quartet No. 3 (2015)– world premiere
February Water for solo percussion (2012)
Nap (2006)
ARTISTS:
Sophie, composer
JACK Quartet
Jena, chimes
Canine Composers

Thursday, April 30, 2015, 8:00 p.m.

TUCKER

Miller Theatre (2960 Broadway at 116th Street)

Brooklyn-based Golden Retriever Tucker presents a series of works for tennis ball, piano, and cello. In Ode to Mine Enemy Tucker uses unconventional performance techniques, inspired by Helmut Lachenmann, to capture the brushing whiskers and scraping claws of a cat. Dog Run employs the instrument in a more conventional ways, as tennis balls are deployed with increasing intensity, letting the sounds of dropping, plopping, and padding around build to an emotional pitch. In contrast, I Love Mud is a formally traditional, beautiful cello suite.

PROGRAM:

I Love Mud for solo cello (2014)
Dog Run for canine and sixteen tennis balls (2010)
Ode to Mine Enemy for tennis ball and prepared piano (2005)
ARTISTS:
Tucker, composer
Buddy, tennis balls
Blaze, prepared piano
Kevin McFarland, cello
  Canine Composers

Thursday, May 14, 2015, 8:00 p.m.

POPPET

Miller Theatre (2960 Broadway at 116th Street)

Poppet’s nine-part opus Fetch captures the wrought emotional roller coaster of dog-and-owner relations. While the autobiographical origins of the piece are unconfirmed, what shines through is the Bearded Collie’s nuanced control of rhythm, orchestration, and dynamics in these complex six-bark harmonies.

PROGRAM:

Fetch (2007)
     1. Oh, that ball
2. Put it where?
3. Where?
4. But I have it
5. It’s right here
6. Here
7. Here (2)
8. Here (3)
9. Why don’t you ever love me the way that I love you?
ARTISTS:
Poppet, composer
Dottie, Pomeranian
Minnie, Miniature Schnauzer
Spike, Bulldog
Izzy, Poodle
Pongo, Dalmatian
Niels, Great Dane

April 1, 2015 Posted by | Uncategorized | Leave a comment

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