Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Strange, Imaginative Night of Johnny Cash Covers at Symphony Space

Why – beyond Buttermilk Bar and the Jalopy, maybe – are punk bands the only people who cover Johnny Cash? Probably because it’s impossible to top the Man in Black. Plugging in and blasting Ring of Fire through a Fender Twin at least puts a fresh spin on an old chestnut. So in its own way, Symphony Space’s Saturday night Johnny Cash extravaganza was as challenging as any of their other annual, thematic, Wall to Wall marathons, from Bach, to Miles Davis, to the unforgettable Behind the Wall concert a few years back that spotlighted Jewish music from lands once locked behind the Iron Curtain.

The highlight of the first couple of hours of Wall to Wall Johnny Cash was jazz reinventions of mostly obscure songs. Some would say that making jazz out of Johnny Cash makes about as much sense as jazzing up Pearl Jam. An even more cynical view is that a jazz take of a Cash song gives you a get-out-of-jail-free card if you end up murdering it. As it turned out, not all the early stuff was jazz, and a lot of it wasn’t Johnny Cash either. Left to choose their own material, pretty much everybody gave themselves the additional leeway of picking songs covered rather than written by Cash. Badass resonator guitarist Mamie Minch did that with a Neil Diamond number and wowed the crowd with her ability to hit some serious lows, while blue-eyed soul chanteuse Morley Kamen did much the same with a similar template, several octaves higher. And banjo player/one-man band Jason Walker got all of one tune, at least early on, but made the most of it.

Representing the oldschool downtown Tonic/Stone contingent, guitarist/singer Janine Nichols lent her signature, uneasily airy delivery to There You Go and Long Black Veil, veering toward elegant countrypolitan more on the former than the latter while lead guitarist Brandon Ross matched her with spare, lingering washes of sound. Eric Mingus brought a starkly rustic, electrically bluesy guitar intensity and then a defiant gospel attack after switching to bass while tenor saxophonist Catherine Sikora made the most impactful statements of anyone during the early moments with her stark, deftly placed, eerily keening overtone-laced polytonalities. Extended technique from a jazz sax player, the last thing you’d expect to hear at a Johnny Cash cover night…but she made it work.

Word on the street is that the later part of the evening was much the same as far as talent was concerned, lots of people moving across the stage while the music went in a more bluegrass direction. And there’s a rumor that the venue will have another free night of Cash around this time a year from now.

April 27, 2015 Posted by | concert, country music, jazz, Live Events, Music, music, concert, New York City, 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

The Jake Schepps Quintet Take Bluegrass to Unlikely Places

It’s likely that there’s a crowd of people who think the idea of playing classical music on bluegrass instruments is flat-out absurd. Then again, music is always evolving, and the musicians pushing that evolution are usually the bravest. The Jake Schepps Quintet have chops to match their utter lack of fear. Wednesday night at Subculture, the five-string banjoist and his group – Ryan Drickey on violin, Jordan Tice on acoustic guitar, Andrew Small on bass and Matt Flinner on mandolin – played an ambitious program that encompassed so-called indie classical as well as Nordic fiddling and a healthy dose of traditional Appalachian music. At worst, they came across as a less fussy take on the Punch Brothers; at best, they took a lot of chances, danced on cinders and came away for the most part unsinged.

The centerpiece of the program was Flinner’s four-part Migration, a vivid, uneasy suite that, as the mandolinist explained to a pretty full house, sought to explore how bluegrass made its way from rural areas to larger population centers like Knoxville and Baltimore. Growing from a stern, terse, ruggedly minor-key gospel theme, it slowly brightened, although it ended with a lingering lack of resolve. Along the way, there were plenty of choice moments for soloists throughout the band, at one point Small pushing a waltz interlude with a practically new wave bassline. And it worked as well as it did, because, as Schepps put it, Flinner comes out of “the tradition” and never lost sight of it, no matter how minimalist, or avant garde, or for that matter, cinematic, the piece became.

Small revealed himself as an inspired country fiddler on an animatedly pulsing, biting, original bluegrass number on which the band was joined by a guest bassist who just happened to be in town. Tice alternated between big, expansive, jazzy chords and nimble flatpicking, particularly on an elaborate, dynamically-charged, waltzing original. Drickey led the group through a bracing number from the Swedish-Norwegian border which gave the quintet a launching pad for plenty of high-octane solos.

The night got off to a slow start with a couple of works by contemporary composers from outside the group. The first was gingerly blues-tinged, with the unfocused yet cautious feel of a student work, one that came across as trying to avoid failure rather than reaching for victory. The second rehashed Steve Reich and Windham Hill with the kind of preciousness that plagues so much of the indie classical demimonde. So when Schepps led the group from there into a mashup of a Bartok Mikrokosmos etude (#87, maybe?) and a high lonesome traditional number, it took awhile for the band to shake off the stiffness. One up-and-coming composer that the group ought to seek out is mandolinist Vivian Li, whose irrepressible, distinctive style is a richly intertwining blend of traditional bluegrass and cutting-edge contemporary composition for traditional folk instruments.

The Jake Schepps Quintet is currently on tour; their next concert is Feb 7 at 8 PM at the Theatre at 291 Gay St. in Washington, VA, tix are $20/$10 18-and-under.

February 6, 2015 Posted by | avant garde music, concert, country music, folk music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Karine Poghosyan and David Bernard Revel in the Unserious Side of Beethoven

Anyone who thinks classical music is stuffy didn’t go out into the storm last night to see Karine Poghosyan play Beethoven at the DiMenna Center. Joining her in an uproariously conspiratorial performance of the Piano Concerto No. 1, Op. 15 and then switching gears with a fiery, impassioned take of the Piano Concerto No. 3, Op. 37 were conductor David Bernard and a good proportion of the majestically sweeping Park Avenue Chamber Symphony. The first part of the performance was like watching two good friends share a long, amusing yarn, making sure at the same time that everyone in the audience was in on it. It’s as if Bernard had pulled Poghosyan aside during rehearsal and said something like, “Look, we both know how funny Beethoven is. Let’s see who besides us and the orchestra gets this, huh?”

To which Poghosyan probably replied with a wink (she made her orchestral debut with this same piece while still in middle school). And the synergy worked like a charm, Poghosyan’s erudite wit matched to Bernard’s usual meticulously dynamic direction. Some of the humor in the first of the concertos is rather subtle and deadpan but much of it is very broad, particularly in the series of peek-a-boo phrases between the piano and voices throughout the orchestra. Poghosyan, in particular, got tons of punchlines and made the most of them, beginning with her introduction where she really took her time sidling in as the orchestra backed off, as if to say, “What was that racket all about? Get lost. I’m going to show you how this is done!”

Between movements, conductor and pianist exchanged over-the-shoulder peeks at each other; neither could resist breaking into a grin. Beyond the hijinks, it was fun to watch how much Beethoven was already pushing the envelope with this piece, engaging the orchestra more than simply as a backdrop for piano pyrotechnics. But fun ultimately won out of whatever paradigms were being shifted. “It’s such a goofy piece of music!” Poghosyan confided afterward.

The backstory to both the works on the bill, which Bernard couldn’t resist relating, is that Concerto No. 1 is not the first one Beethoven wrote, nor is No. 3 in correct sequence either – that’s just the order in which they were published. That solves the dilemma of how some of the cadenzas in No. 3 echo those in No. 4 – publishers just couldn’t keep up with the guy. And this one required everyone onstage to put their serious hats on, which they did, especially Poghosyan. From the faux-gypsy themes, dripping with sarcasm, that open the piece, all the way through to a vindictive cadenza that Poghosyan hit with pure venom, to its more jaunty if still somewhat cynical conclusion, the musicians left no doubt that this was a kiss-off. Had Beethoven been spurned? Had someone reneged on a fat commission? Whatever might have inspired him, the performance vividly grounded the buffo theatrics that opened the show.

Poghosyan, a leading advocate of the music of Aram Kachaturian, explores that repertoire at an intimate benefit performance on Feb 11 at 7 PM at the Louis Meisel Gallery, 141 Prince Street in SoHo in conjunction with an exibition of her father Razmik‘s paintings. And Bernard directs the Park Ave. Chamber Symphony in a performance of Stravinsky’s Le Sacre du Printemps and Lorin Maazel’s arrangement of Wagner themes, The Ring Without Words at Rose Theatre at Jazz at Lincoln Center on February 22 at 3 PM.

December 17, 2014 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews, Uncategorized | , , , , , , , , , , , , , , | Leave a comment

Brilliant, Sometimes Haunting Lapsteel Player Brings His Genre-Smashing Instrumentals to Freddy’s

To New York audiences, lapsteel virtuoso Raphael McGregor might be best known as a key ingredient in Brain Cloud, Dennis Lichtman’s western swing band. Before that, McGregor served as the source of the vintage country flavor in Nation Beat‘s driving mashup of Brazilian maracatu and Americana sounds. But he’s also a first-rate, eclectic composer and bandleader in his own right. In addiiton to his more-or-less weekly Monday 7 PM Barbes residency with Brain Cloud, he has a monthly residency at Freddy’s, where he’ll be on Nov 20 at 8 PM.

His most recent show at Barbes leading a band was a quartet gig with with Larry Eagle on drums, Jim Whitney on bass and Rob Hecht on violin. They opened with a moody oldschool noir soul vamp and quickly built it into a brooding rainy-day theme over Eagle’s tense shuffle beat. Hecht took his time and then went spiraling and sailing upwards. Why is it that blues riffs inevitably sound so cool when played by strings? McGregor had a hard act to follow so he walked the line between Lynchian atmosphere and an express-track scurry, then handed off to Whitney who picked up his bow and took the song all the way into the shadows.

McGregor began the night’s second number with a mournful solo lapsteel intro that moved slowly toward C&W and then shifted uneasily into moody swing. It was like a more animated take on the Friends of Dean Martinez doing oldtime string band music. After that, they put a swinging southwestern gothic spin on a Django Reinhardt tune.

They also did a couple of straight-up western swing numbers, a brisk trainwhistle romp and a fetching version of Waltz Across Texas With You: much as they were a lot of fun, McGregor was pleasantly surprised to find that the crowd was more interested in hearing his originals. They opened their second set with a piece that began as an Indian-inflected one-chord jam that morphed into a bluesy duel between violin and bass, followed by a Frisellian pastoral interlude and then back to trip-hop Indian funk – all that in under ten minutes. All this is just a small sampling of what McGregor could pull off at Freddy’s.

November 15, 2014 Posted by | concert, country music, jazz, Music, music, concert, New York City, review, rock music | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Maria Schneider’s Lush, Atmospheric Winter Morning Walks: Beauty Triumphs Over Horror

If there’s one thing that defines Maria Schneider‘s work, it’s color. So why would this era’s most dynamic composer in any style of music want to make a monochromatic album? Maybe because it was a challenge. Although Schneider’s big band jazz can be lush and enveloping to the nth degree, writing for string orchestra as she does here gives her a chance to build lingering long-tone themes that would be less suited to the reeds and brass of her jazz orchestra. Both suites on her most recent, death-obsessed album Winter Morning Walks are sung by Dawn Upshaw, an apt choice of vocalist considering that she’s as at home in both the avant garde and in jazz – notably in her collaborations with Wynton Marsalis – as she is in the classical world.

The first suite is orchestrations of poems by Ted Kooser, which debuted on NPR and document his predawn strolls while battling through chemotherapy (which he happily survived). The second is Schneider’s orchestral scores of text by iconic Brazilian poet Carlos Drummond de Andrade. The music of both is remarkably cohesive, and pretty much through-composed in keeping with the uneven meters of the poems: there’s very little repetition here. Upshaw is backed by the Australian Chamber Orchestra on the first and on the second by the St. Paul Chamber Orchestra along with core members of the Maria Schneider Orchestra: pianist Frank Kimbrough, bassist Jay Anderson and multi-reedman Scott Robinson on alto and bass clarinet.

Music inspired by impending doom has seldom been more gorgeous. An aptly drifting tone poem opens the initial suite, Upshaw’s clipped vocals growing more agitated against scurrying strings which then drive the music to a lull. Kimbrough’s steady, minimalist piano pairs with Robinson’s optimistic clarinet, then Upshaw delivers a mantra of sorts over a theme that grows uneasy despite the lushness underneath. A tender piano/strings interlude illustrates the point where Kooser’s wife joins him on one of his excursions. A calmly pulsing after-the-storm tableau gets followed by the menacing miniature Our Finch Feeder, with echoes of circus rock and noir cabaret, then a hopeful, crescendoing interlude. Nebulous, balmy orchestration gives way to a big bravura vocal crescendo on the final segment.

The de Andrade suite is more in the vein of Schneider’s extraordinarily vivid large ensemble jazz. The opening prologue sounds like an Ernesto Lecuona piece with lusher strings and English vocals – it gets creepier as it trails out. The Dead in Frock Coats, a plaintive, cello-fueled waltz in disguise, comes next, followed by the minimalist lullaby Souvenir of the Ancient World. The best song on the album, the absolutely chilling, majestically menacing Don’t Kill Yourself, blends hints of Arabic music with vintage Gil Evans Out of the Cool noir (which makes sense since Schneider was Evans’ greatest protegee). The album ends with an ominously throbbing vamp concealed in a cloud of strings. This is an album best enjoyed on your phone or your pod or your earphones – it’s best heard up close where Schneider’s intricacies can draw you into a reverie and then jar you out of it when least expected.

Now where else can you hear this album? Not at Spotify, or Instantencore (the classical counterpart to Bandcamp). Not at Schneider’s Youtube channel. However, Schneider streams much of her catalog at her site: you can get absolutely lost in the amazing stuff that’s up there.

May 11, 2014 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , | Leave a comment

The Django Festival Allstars Return to Birdland with a Hot New Album Recorded There

It’s that time of year again when the Django Reinhardt Festival takes over Birdland, starting at 8 PM on June 25 and continuing through June 30. Fortuitously, the Django Festival Allstars have a new album out, Live at Birdland, recorded at last year’s festival. The sound quality is outstanding, as you would expect from this venue, and the playing is sensational, even by the rigorous standards of le jazz manouche. The track selection is eclectic and draws deeply on originals with contributions from several members of the band, rather than simply recycled Django Reinhardt classics. As timelessly enjoyable as the Django catalog is, it’s good to see this group pushing hard on the envelope at the forefront of the tradition.

There are three numbers associated with Django here. The band kicks it off with Swing Gitan, lead guitarist Dorado Schmitt adding a bluesy ominousness over the swirl of Ludovic Beier’s accordion, the two joining forces as the song winds out in flurry of tremolo-picking. Nuages, true to its name, builds a rich, Gil Evans-tinged reflecting-pool backdrop for Schmitt’s spacious hanmer-on work and guest Anat Cohen’s slinky soprano sax. There’s also Manoir de Mes Reves, essentially My Funny Valentine recast as a steady Romany jazz ballad. The other covers here are an accordion-fueled Beier arrangement of Caravan, with a droll new title, Camping Car, a feature for cellist Jisoo Ok, as well as an amped-up take of Out of Nowhere and a rather unexpectedly, hard-rocking, early 70s-tinged version of Them There Eyes.

But it’s the originals here that make this band what they are. Dorado Schmitt’s ballad For Pierre carefully sets up an austere feature for violinist Pierre Blanchard. Blanchard’s Balkanic Dance juxtaposes his biting lines against Beier’s nonchalantly sizzling chromatics. The plaintive Valse en Exil, another Blanchard tune, sets moody violin over elegantly dancing guitars, a lush backdrop rising and falling behind them. Schmitt’s El Dorado is a lively bossa in disguise, a rhythm they revisit as the album closes with Bossa Dorado, building suspense with a relentless intensity as they resist the urge to take it over the top.

The poignant, elegaic spaghetti western bolero Song for Etorre, another Schmitt tune, might be the album’s strongest track. The rest of the cuts include Pat’s Waltz, a bouncy Beier number built around rapidfire, clustering guitars; a hypnotically shuffling, Brazilian-flavored tune by co-lead guitarist Bronson Schmidt; and Dorado Schmitt’s funk-tinged Melissa. To call this one of the best jazz albums of the year seems almost unfair to the rest of this year’s releases, considering the sheer talent that this good-natured family bands bring to the material.

June 23, 2013 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Catching Up on Recent Shows by Some Brilliant Usual Suspects

It wouldn’t be fair to let the month go by without a tip of the hat to some of the groups who’ve received ink here before, and continue to play concerts that range from the rapt to the exhilarating. Self-conducted string ensemble the East Coast Chamber Orchestra (a..k.a. ECCO) seem to have a special place for edgy, emotionally resonant music. Their previous appearance at the wildly popular Upper Westside Music Mondays series featured  Shostakovich’s Sinfonia, Op. 110 (based on the String Quartet No. 8, a requiem for victims of the Holocaust, World War II and fascism in general), along with Ginastera’s Concerto Por Corde, which rose from delicate atmospherics to a scream. Their most recent concert here opened with a matter-of-fact take on Mozart’s Divertimento for Strings in F Major, K. 138. From there they aired out the strikingly forward-looking, modern tonalities in a couple of Purcell fantasias, following with a stormy, slithery, darkly dancing, minutely detailed take of Britten’s Variations on a Theme of Frank Bridge. They took it out on a high note with a menacingly dancing, sweepingly intense, enveloping version of Bartok’s Divertimento for String Orchestra, its many voices alternating murmurs within an incessent, brooding tension.

Austria’s Minetti Quartett made a couple of Manhattan stops last month, including one downtown at Trinity Church. While the obvious piece de resistance was a steady but nuanced performance of Beethoven’s String Quartet No. 9 in C major, Op. 59, No. 3, Mozart’s Piano Concerto No. 12 in A Major with Andreas Klein at the piano was an unexpected treat. The second movement, reputedly a requiem for Bach, doesn’t make much of a segue with the rest of the piece, but in this group’s hands it got a spacious, vividly intense workout and was arguably the higlight of the concert. It’s always refreshing to see an ensemble go as deeply into a piece of music and pull out as much raw emotion as this group did here.

Wadada Leo Smith has gotten plenty of press here, most recently for his magnum 4-cd Civil Rights era -themed opus Ten Freedom Summers (rated best album of the year for 2012) and for the opening night of his three-night stand at Roulette last week. Having seen all three nights, it’s an understatement to say that this series of concerts was a major moment in New York music history. Smith took considerable pride from the visceral reaction on the part of several key players of the movement to the live debut of these works earlier this year in California, where the Mississippi-born trumpeter and composer now resides. A finalist in this year’s competition for the Pulitzer Prize in music, it’s probably safe to say after seeing this that he has an inside track. Of the other finalists, Aaron Jay Kernis has won before, and there isn’t much precedent for multiple winners, and Caroline Shaw, talented as she may be as a violinist, composer and singer, is still in her twenties. And Smith has almost a half a century on her.

Much as Smith can be playful and great fun in an improvisatory context, his compositions are rigorously thought out. He told the crowd this past Thursday night that “a lot of White-Out” went into the suspensefully sweeping, dynamically rich, spectrally influenced string quartet premiered with a knife’s-edge sensitivity by Shalini Vijayan and Mona Tian on violins, Andrew Macintosh on viola and Ashley Walters on cello. While his suite portrays considerable struggle, the triumphant moments took centerstage on the second and third night of the stand, from the eclectic, spacious. blues and gospel-charged vistas of America, Parts 1, 2 and 3 to the stalking, shatteringly explosive Martin Luther King tableau that wound it up, with alternately soaring and elegaic tributes to the Freedom Riders, Medgar Evers and the crusaders who walked for miles to their voting stations during the early Missisippi voter registration drives. “Freedom isn’t when you’ve strugged and reached here,” he pointed, chest-high. “Freedom is here,” he pointed to his heart, “Knowing that you have the power to act.” The triumph was bittersweet, and as Smith made clear, this struggle is still ongoing after all these years.

May 6, 2013 Posted by | Uncategorized | , , , , , , , , , , , , , , , | Leave a comment

Jazz Drum Heaven This Weekend at Drom

This weekend, March 23 and 24 at Drom (85 Ave. A),there’s a jazz drum summit to end all jazz drum summits. An all-weekend pass can be obtained as cheaply as $20 or even $15 with student ID at the door. With as many generations of A- list drummers – the legendary Jimmy Cobb, Tain Watts, Billy Hart, EJ Strickland and others – leading their respective bands, early arrival is highly advised. Music begins each night at 7 PM. Revive Music’s Meghan Stabile put together the bill; Revive’s Eric Sandler took some time to share his insight on how exciting this is going to be:

Lucid Culture’s Correspondent: First, congratulations on getting all of these artists together on the same bill. That was definitely not easy since they’re all so busy. How long did it take you to pull this together?

Eric Sandler: The Generations of the BEAT Festival is definitely an idea that has been on our minds for quite a while from a conceptual standpoint. As far as putting it together, it’s always fun from a scheduling standpoint, but throughout the years our team has become pretty great at making our live events happen to their greatest potential. All of these drummers immediately realized the historical significance behind the event, so convincing them was not a struggle at all!

LCC: You have several generations of drummer bandleaders represented, from Jimmy Cobb, to Tain, to the Cookers’ Billy Hart, to the up-and-coming EJ Strickland. Obviously you did your homework. Are you a drummer as well? What’s your agenda with this?

ES: It’s not so much doing our homework as being a part of the scene. Revive Music Group has become a staple in the live music scene both through our live events and our online journal, The Revivalist. Our agenda is really just to expose as many people as possible to the best music that is out there. It is absolutely incredible to have artists like Jimmy Cobb and Billy Hart still performing. As musicians and fans ourselves, this is not something anyone should miss. Moreover, with the Generations of the BEAT Festival we are bringing together different generations of artists, an integral aspect of progressing the music and fostering innovation.

LCC: Drummer-led bands are usually especially good, in my experience. Do you agree? Why do you think that is?

ES: Drummers have a very unique perspective, compared to everyone else in the band. They tend to think in shapes, colors, forms, and rhythms in addition to harmonies and melodies. In short, they are generally more focused on making the music feel good than anything else. A great drummer can really make a band. Conversely, a bad drummer can really ruin one too. It is very interesting that drummers tend to make incredible bandleaders as well as producers. I have to think it has something to do with how they hear music.

LCC: I’ve got a much easier explanation: everybody needs a good drummer! Drummers always have the deepest address books – because the good ones play with so many other great artists. Now – do you have a list of the supporting musicians? I know that up-and-coming bassist Michael Feinberg – who recently put out an intriguing Elvin Jones tribute album – is playing with Billy Hart, one of the few guys I would trust to do justice to Elvin…

ES: Michael Feinberg’s tribute to Elvin Jones with Billy Hart will most certainly be one of the most exciting parts of the BEAT Festival. Funny enough, when we interviewed Michael about the festival, he told us that he was a little nervous to perform for so many amazing drummers both onstage and in the audience. I think being a bass player in a drummer’s festival is a tough role to fill, but Michael and the other bass players are surely up to the task — otherwise they wouldn’t be performing at the festival. You can check out more info on the bands that will be performing on The Revivalist. In addition to putting together these live events, we also strive to educate audiences about the music. For the Generations of the BEAT Festival we also launched an online Drummer’s Issue to feature the artists in interviews and analytical profiles.

LCC: No Roy Haynes on the bill, I see. Too busy? Did you ask?

ES: We have something very special planned for Roy Haynes on the horizon. For now that’s all I’m going to say.

LCC: Are these two concerts basically repertory material, or are they focused on original compositions from the artists involved?

ES: A mix of both actually. A lot of the drummers are bringing original compositions to perform with their groups, but there will also be many tribute pieces within the sets as a nod to the drummers who influenced the performers. Keep your ears perked for a lot of surprises.

LCC: Are there any $15 two-day passes left? If so, how and where can you get one?

ES: $15 festival passes are available all weekend for any students who can present a valid student ID at the door. Presale tickets are also available.

LCC: This is an exciting bill. Is there going to be room on the floor for people who want to get up and dance?

ES: There’s always room to dance!

March 22, 2013 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, Uncategorized | , , , , , , , , , , , , | Leave a comment

A Soulful Mary Lou Williams Tribute from Virginia Mayhew

This blog doesn’t spend much time in the past these days: if you’re just getting into jazz and discovering the classics for the first time, there are plenty of places to do that and this isn’t usually one of them. For that reason, coverage of recordings here typically focuses on original material by artists who are usually if not always flying a little under the radar. But every so often an album appears that offers a fresh take on older sounds. Tenor saxophonist Virginia Mayhew’s recent quartet album, Mary Lou Williams – The Next 100 Years is a delightful example.

For starters, just the idea of doing a Williams homage without piano is intriguing. But maybe it’s just as well – it saves some piano player from cruel comparisons. This album also gives guitarist Ed Cherry – who explores a whole ‘nother side on his jaunty new B3 record, It’s All Good – a chance to go deep into moody blues. Williams’ long career spanned from the hot jazz era of the 20s to the avant garde of the 70s; like Williams, Mayhew is comfortable in diverse milieus from inside to out. Rounding out the group here are bassist Harvie S and drummer Andy Watson, plus contributions from Wycliffe Gordon on trombone.

The songs here are often disarmingly beautiful: Williams had a rare command of the blues and a laserlike, uncluttered sense of melody, which the band grasps impressively. They take their time getting into J.B.’s Waltz – one of a number of jazz waltzes here – and work there way up to an absolutely gorgeous, chordally-infused Cherry solo. Medi II follows a moody chromatic trajectory to some wry, almost vaudevillian fun from the rhythm section. By contrast, Medi I, a 1973 piece alternately titled Searching for Love is a nonchalantly intense soul/blues tune – it sounds a lot like Doc Pomus’ Lonely Avenue – dark stuff lit up with vivid and spacious Mayhew and Cherry solos.

The 1954 tune O.W., inspired by Don Byas, swings a minor blues with incisive, staccato work from bass, sax and guitar in turn, followed by the richly suspenseful Cancer, from Williams’ 1945 Zodiac Suite, twelve minutes of judicious chromatic intensity and a fleet-footed, terse Mayhew solo. What’s Your Story Morning Glory – the original version of the standard Black Coffee, for which Williams was never credited -sounds here like it’s the prototype for One for My Baby. Mayhew does this as a story for two voices, first wistful in the wee hours with the sax and guitar and ending by contrasting against Gordon’s completely unexpected, comedic lines.

NME – short for New Musical Express – draws inspiration from Byas and also the Ellington band, a vividly flurrying swing tune. The last of the Williams numbers is Waltz Boogie, one of her catchiest. Mayhew also includes two inspired originals. The first is the nebulously Monk-ish One for Mary Lou, which the saxophonist builds to an allusive triumph – to swing it would be too obvious. The album closes with the warmly bluesy, relaxed 5 For Mary Lou. Beyond what they offer musically, albums like this serve other purposes – they make you want to revisit the originals as well as to go deeper into the works of a bandleader who completely gets what this music is all about: soul.

Mayhew is also featured on another soulful recent revisitation of vintage material, the Duke Ellington Legacy’s Single Petal of a Rose.

November 12, 2012 Posted by | Uncategorized | , , , , , , , , , , , , , , , , | Leave a comment

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