Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Colorful, Dynamic Debut Album and a West Village Show by the New Thread Quartet

Bands with multiple musicians all playing the same instrument can be academic and fussy. Obviously, there are exceptions. Battle Trance live up to their name and then some. The Ukulele Orchestra of Great Britain are ridiculously entertaining. The cuatros of the C4 Trio will give you goosebumps. Likewise, the saxophonists in the New Thread Quartet – soprano player Geoffrey Landman, altoist Kristen McKeon, tenor player Erin Rogers and baritone playe Zach Herchen  – have a sense of fun to match their formidable chops.

They love to commission new works and have impeccable taste in their choice of composers. Their  debut album, Plastic Facts – streaming at Bandcamp – comprises four diverse, dynamic new compositions. They’re playing the release show for their second and as-yet-unreleased second album, Explorations Vol. 4, Attacca on Sept 12 at 8:30 PM at the Tenri Institute. Cover is $10; $20 will get you admission, plus a copy of the new cd., which features works by James Ilgenfritz, Len Tetta, Jude Thomas, and Amy Beth Kirsten.

The debut album’s first track, Michael Djupstrom‘s Test shifts swiftly from moody ambience to increasingly agitated overlays, close harmonies and bagpipe-like flourishes. Bubbly pageantry quickly gives way to ominous resonance, noirish trills, poltergeist leaps and flickers and sharp-fanged close harmonies. Bernard Herrmann would have been proud to have assembled this deliciously sinister tableau.

Ser – Spanish for “being” – by Marcelo Lazcano begins with fragmentary phrases dispersed among the four musicians, then shifts back and forth between steady, intertwining, busily anticipatory riffs and calmer interludes. There’s a lot of whispering and a surprise ending.

With its slow, doppler-like tectonic shifts, the album’s title cut – by Anthony Gatto – draws more heavily on the group’s massed extended technique – harmonics, duotones, and textural grit – than the other pieces here. And yet, its persistent, warm optimism becomes a fanfare of sorts: John Zorn’s work for brass comes strongly to mind.

The epic final cut is Harmonixity, by Richard Carrick. It’s a series of variations on two contrasting tropes. To open the piece, waves roll in across a long expanse, in succession, nimbly handed off between the group’s individual members. Then fluttery intonation mimics a strobe effect: the collective precision is stunning. Then it’s back to the beach, and then the strobe, and so on. Like the rest of the material here, it’s both playful and keeps the listener guessing what’s going to happen next. No spoilers! Count this among the most enjoyable instrumental albums of the year in any style of music, and good reason to look forward to the next release.

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September 7, 2019 Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

The New York Festival of Song Transcends Category

For almost three decades now, the New York Festival of Song has staged many concert series around town that fall loosely under the category of art-song. Some of the material is on the operatic side, some veering toward cabaret, occasionally venturing toward art-rock or further to the edge of the avant garde. While the most recent one last week was staged at the National Opera Center, both the bill and the performance were characteristically eclectic.

Composition-wise, it was no surprise that the high point of the evening would be a triptych of text from Hamlet, brought to life with a vividly acidic austerity by Amy Beth Kirsten. Soprano Justine Aronson gave it an aptly grim, arioso rendition over brilliantly diverse pianist Thomas Sauer‘s haunting, bell-like resonance. The night’s funniest moment was a snarkily ridiculous portrait of a paparazzi (or someone who seems to want to be one) written by jazz piano luminary Fred Herschalso performed by Aronson and Sauer. Aronson later brought  richly nuanced, poignant vocalese to a setting of an Elizabeth Bishop poem by composer Russell Platt, pianist Michael Barrett adding a nocturnal lustre.

Harold Meltzer, who’d organized the night, was also represented by an unorthodox series of chamber ensembles featuring both acoustic guitar and mandolin: his circular, Reichian riffs and spacious phrases were the bill’s most modern elements. Aronson and Sauer delivered a dynamically-charged, crescendoing triptych by James Matheson whose idioms spanned from the baroque to the neoromantic. Mezzo-soprano Mary Nessinger took a Scott Wheeler setting of Wallace Stevens straight into grand guignol. And toward the end, Aronson again teamed with Barrett for a droll litany of “ark luggage” (flea powder and champagne included on the list) by David Lang.

The next concert in NYFOS’ current season is at Merkin Concert Hall on April 14 at 8 PM, a Spanish-inspired bill with music of Shostakovich, Taneyev, Wolf, Schumann, Granados and others, sung by soprano Corinne Winters and tenor Theo Lebow, with Barrett or Steven Blier at the piano. There’s also a spring gala at Carnegie Hall and the more informal, theatrically-infused ongoing series uptown at Henry’s Restaurant at 2745 Broadway.

April 3, 2014 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment