The Sirius Quartet – violinists Gregor Huebner and Fung Chern Hwei, violist Ron Lawrence and cellist Jeremy Harman – play seriously exciting, tuneful, sophisticated music. They’re the rare chamber ensemble who can strike a chord with fans of heavy rock, psychedelia and jazz in addition to the indie classical crowd. They’re playing on an intriguing twinbill, with special guest violinist Tracy Silverman, tonight, Jan 5 at around 9:30 PM at Club Bonafide that makes more sense thematically than you might think. Longtime Astor Piazzolla collaborator and nuevo tango pianist Pablo Ziegler and his ensemble open the night at 7:30, cover is $15 and the club’s webpage notes with some relish that you’re welcome to stay for both acts at no extra charge.
The Sirius Quartet’s latest album Paths Become Lines is streaming at Spotify, opening with its title number, a pedal note shifting suspensefully between individual voices, pulsing with a steely precision as the melody develops elegantly and tensely around them. The darkly bluesy, chromatically-charged exchanges that follow are no less elegant but absolutely ferocious.
The second number, Ceili, is a sharp, insistent, staccato piece, in a Julia Wolfe vein. Plaintive cello interchanges with aching midrange washes; it grows more anthemic as it goes on. Jeff Lynne only wishes he’d put something this stark and downright electric on ELO’s third album.
Racing Mind builds to a swinging jazz-infused waltz out of a circular tension anchored by a bubbly cello bassline that gets subsumed almost triumphantly by tersely shifting and then spiraling riffage. Spidey Falls! is a cinematic showstopper, a frenetic crescendo right off the bat giving way to a harrowingly brisk stroll that’s part Big Lazy crime jazz, part Bernard Herrmann and part Piazzolla, then an acerbically circling theme in a 90s Turtle Island vein before the cell digs in and a violin solo signals a return to the turbocharged tarantella. String metal in 2017 doesn’t get any more entertaining than this.
The next piece is a fullscale string quartet. Slow, austere, staggered counterpoint gives way to an insistent chase theme that calms slightly and goes marching, with a hint of tango. The second movement, Shir La Shalom is slow and atmospheric, a canon at halfspeed that builds to a wounded anthem. The third opens with stern, stark cello but quickly morphs into a syncopated folk dance and increasingly rhythmic variations. The breathless, rather breathtaking conclusion mashes up Piazzolla at his most avant garde, early Bartok, swing jazz and furtive cinematics.
Get In Line, a staggered, chromatic dance, veers toward the blues as well as bluesmetal, spiced with an evil, shivery glissandos and tritones, suspenseful pauses and an allusively marionettish cello solo. The album winds up with its most expansive number, Heal and its series of variations on a hypnotic, pizzicato dance theme that finally rises, again in a tango direction, to fearsome heights. Other than the Chiara String Quartet‘s relevatory Bartok By Heart double-cd set, and the Kepler Quartet‘s concluding chapter in their wild Ben Johnston microtonal quartet series, there hasn’t been a string quartet album this exciting released in many months.
Pianist Emilio Solla writes colorful, rhythmic, ambitiously orchestrated music that could be called latin jazz, but it’s a lot more eclectic and global in scope than your basic salsa vamp with long horn solos. Like his music, Solla is well-traveled: born in Argentina and now in New York for the past decade after a long stopover in Spain. His new album Second Half with his brilliant nine-piece ensemble La Inestable de Brooklyn – streaming at Spotify– draws equally on Piazzolla-inspired nuevo tango, Brazilian, Spanish Caribbean and American jazz sounds. Solla and his mighty group have a show this Sunday, May 7 at 4:30 PM at Smalls; cover is $20, and you get a drink with that.
The band comprises some of the more adventurous jazz players in New York: Tim Armacost on saxophones and alto flute; John Ellis on tenor sax, flute and bass clarinet; Alex Norris on trumpet, Ryan Keberle on trombone; Meg Okura on violin; Victor Prieto on accordion; Jorge Roeder on bass and Eric Doob on drums. Much as the title of the opening track, Llegará, Llegará, Llegará, implies that there’s something just around the corner, it’s a nonstop series of bright, incisive, alternating voices over a galloping, samba-tinged groove, a real roller-coaster ride, as lush as it is protean.It’s especially interesting to hear Solla’s original here, compared to the blistering cover by bagpiper Cristina Pato, which is practically punk rock by comparison.
The second track, Chakafrik has a brass-fueled Afro-Cuban flavor subtly spiced with accordion and violin and more of those intricately intertwining, polyrhythmic exchanges of riffs from throughout the group. The Piazzolla-inspired Para La Paz brings the volume and tempo down somewhat, but not the energy, lit up by warmly lyrical solos from tenor sax and trumpet up to a big, lush crescendo.
The first part of Solla’s epic Suite Piazzollana (his Spanish group Afines did the second) takes a bouncy folk theme in all sorts of directions: how do you say dixieland in Spanish? Tierra del sur? From there, Solla builds a long, exploratory piano solo, then the band take a judicious, rather tender interlude, Norris’ resonant trumpet paired against Okura’s uneasy staccato violin. The long build out from there makes the group sound twice as large as it is, with their constant exchanges of riffage.
Esencia sets bright, hefty newschool big band textures over an altered clave beat, Solla’s rather droll, vamping second solo kicking off a big, rapidfire, bustling coda. American Patrol is a jovial blend of Mexican folk and New Orleans swing – when the quote from the cartoon comes in, it’s impossible not to laugh. Raro, a bustling, cinematically swinging number, edges toward the noir, with more tasty trumpet-violin jousting and a very clever switch from dancing, staccato brass to brooding nuevo tango orchestration. The last track is Rhythm Changed, another very clever arrangement, with its understated polyrhythms and uneasy harmonies from throughout the band circulating through a pretty standard midtempo swing tune. Throughout the album, the performance is tight and driving but also comfortable: this crew obviously has a good time playing this material, and it’s contagious. Not what you might expect from a group who call themselves “The Brooklyn Unstable.”
Last night’s music and dance extravaganza at the 92nd Street Y, the centerpiece of the Shall We Tango festival – a celebration of global tango and tango-influenced sounds – started at 8, and there was still a floor full of dancers by the time the final band wrapped up at half past eleven. Organizer/pianist Polly Ferman created her own Histoire du Tango (to steal a title from the Astor Piazzolla book, richly and eclectically represented here), and this was a sweeping survey of every kind of tango. Tango as gangster music, boudoir music, serious concert music, ballet soundtrack, as part of the jazz spectrum, the classical repertoire and, arguably, the root source of all things noir: this show had it all.
There was graceful and often spectacular dancing by pairs assembled by the festival’s dance director, Karina Romero. Sometimes simply graceful, often sensationally athletic, the dancers showed off moves that would have been at home on an Olympic ice rink. Are the Olympians stealing those spirals, upside-down catch-and-release tactics and slinky motives from the tango world, or vice versa?
Ferman, a brilliant, witty, fiery performer and interpreter, played with a wicked precision and a cascading, volleying, relentless intensity in tandem with bandoneon legend Daniel Binelli, a frequent collaborator of hers. A little later, she brought out a quartet version of her all-female group GlamourTango, who celebrate women’s contributions to tango over the decades. The piano/bass/bandoneon/violin ensemble ranged from lively neoromanticism, to brassy swing behind a succession of singers, to balletesque themes and a little jazz, Ferman and her crew shifting through the idioms with effortless expertise. GlamourTango don’t seem to have any NYC gigs lined up, but lucky Milwaukeans can catch them at Latino Arts, 1028 S. 9th St. in Milwaukee on Dec 4 and 5; tix are $15/$10 stud/srs.
Bogota-based Quinteto Tango Leopoldo Federico – who take their name from the Argentine legend – aired out the Piazzolla songbook and other iconic material with a viscerally spine-tingling focus. Pianist Alberto Tamayo, violinist Miguel Angel Guevara, bassist Kike Harker, electric guitarist Francisco Avellaneda and bandoneonist Giovanni Parra stunned the crowd with a remarkably serious, moody, meticulous approach, Guevara taking the spotlight and making the most of it. The crowd gave them a standing ovation and wouldn’t let them leave without a couple of encores, the first of which sounded like a droll tango arrangement of the 1950s Big Bopper hit Chantilly Lace.
After a milonga which drew much of the audience out onto the floor to pair up while vintage, orchestrated 1950s sounds played over the PA, sizzling Venezuelan violinist Eddy Marcano and his seven-piece group leaped and bounded through a joyously animated set of folk-inspired jazz themes, bookending a darkly majestic take of Piazzolla’s iconic Libertango, anchored by the pianist’s haunting, hard-hitting, murky lefthand attack. The festival continues through Oct 15, with dance classes, milongas and a couple of shows at the Queens Theatre in the Park in Corona, across from where Shea Stadium used to be. The rest of the New York schedule of events is here.
Is it fair to expect a five-year-old to be able to identify ballet music? At the Greenwich Village Orchestra‘s joyously kinetic performance yesterday, the five-year-old along for the ride with this crew did exactly that, without any prompting. Does that make her precocious…or simply normal? Is a physical response to music an innate human trait? If a child doesn’t respond to music in a visceral way, is that a trouble sign …or just that the kid might need some sleep, or might not like a particular style of music? How many parents ask themselves questions like these?
Although this particular program was not devised as a children’s concert, there were several, ranging from preschool through middle school age, scattered throughout the crowd with their parents…and they were into it! And aside from boisterously applauding between pieces, they kept still. And that probably wasn’t easy, considering how much fun the orchestra was having. Who had the most? The pointillistic trumpet section – Warren Wernick, Ian C. Schaefer and Richard Perry Woodbury III? The percussion section – Gerard Gordon, Jamie Reeves, Julian Bennett Holmes, Sunita deSouza and and Benjamin Vokits – who got to air out a carnival’s worth of rhythms on everything from deep timpani to clashy cymbals to twinkly vibraphone? Conductor Barbara Yahr, a lithe and meticulously graceful presence in front of the ensemble, finally signaling the end of Rimsky-Korsakov’s Cappricio Espagnol with an unselfconsciously triumphant reach for the rafters?
The concert’s unifying theme (pretty much every performance by this orchestra has one) was global music with a Spanish tinge. The simplest and most obviously derivative was Aaron Copland’s El Salon Mexico, fleshed-out variations on folk themes to open the show. Four dances from Alberto Ginastera’s Estancia suite vividly evoked field hands conspiring, a balmy romantic waltz deep in the wheat, and cowboys on a race across the plains (this is where the trumpets had a ball), up and out on a victorious vamp.
Dancers Orlando Reyes and Adriana Salgado swayed and intertwined elegantly against the alternately stately and plaintively lyrical pulse of a couple of Astor Piazzolla works. As a bonus, the noir-tinged Fracanapa and a lush, string-fueled arrangement of Milonga del Angel, then Osvaldo Pugliese’s earthier Negracha were lit up with guest soloist JP Jofre’s wistfully lyrical bandoneon.
Yahr grinningly introduced the Rimsky-Korsakov as anything but authentically Spanish, and she was right on the money, but it made for a delirious romp just the way it was, an indelibly Slavic suite spiced with Russian Romany riffs rather than anything genuinely evoking flamenco, or Romany sounds from west of the Balkans. And there were hints of klezmer in there too, throughout the boisterious overture and variations and the more subdued waltz that later on becomes a “Scene e canto gitano” or well-intentioned, propulsively lyrical facsimile thereof. This was the concluding concert in the GVO’s 2013-14 season, sending both parents and kids out into the reception afterward humming what they’d just heard.
Classical music fans in New York looking something more interesting than the same old standards have numerous options. Among the best of these is the New York Scandia Symphony, who dedicate themselves to reviving interest in lesser-known Nordic composers as well as premiering new works by emerging composers from the upper reaches of that hemisphere. Last night at Victor Borge Hall in Murray Hill, the highlight of the night, performed by a twelve-piece chamber version of the orchestra, was the American permiere of contemporary Danish composer Anders Koppel’s Symphonie Concertante. A triptych, it’s a characteristically enigmatic and absolutely fascinating work, something to get lost in if not for the endless tempo and stylistic shifts. Conductor Dorrit Matson, a Dane herself, led the ensemble seamlessly through a wary, pulsing first movement that evoked Astor Piazzolla’s later work before engaging Steven Hartman’s clarinet and Andrew Schwartz’s bassoon in a long round of animatedly crescendoing rhythmic hijinks over the swells of the strings and eventually a labyrinth of polyrhythms. And yet, the jousting stopped abruptly during the early part of the second, Largo movement and turned to apprehension, reaching near-horror proportions via the chilling, Bernard Herrmann-esque string motif around which the final Allegro appassionato movement was centered. A celebrity in his native land ever since his days in popular rock band Savage Rose, Koppel deserves to be much better known here.
Another highlight of the program was Symphony violist Frank Foerster’s Suite of Scandinavian Folk Tunes for string ensemble. Foerster is a very eclectic player and has a great wit – another suite of his, Summer in Fort Tryon Park, is a quintessentially New York tableau, packed with irresistible on-location references. This piece is more serious, a rugged hardanger fiddle-style sea motif linking a series of portraits of several of the Nordic nations: by this account, the Norwegians and Swedes are a serious bunch given to vivid dramatics, while the Finns and Icelandics are party animals. Opening the concert, Matson and the group took Swedish baroque composer Johan Helmich Roman’s Haydn-esque Violin Concerto and tackled its rather rugged, stern underpinnings with a muscular sway beneath violinist Mayuki Fukuhara’s spun-silk swirls; a bit later, Hartman was featured in a velvety version of the Adagio from the Clarinet Concerto, Op. 11 of Bernhardt Henrik Crusell, a Swedish contemporary of Mozart. They closed with enjoyably jaunty yet precise takes on the Prelude and Rigaudon from Grieg’s Holberg Suite. Concerts like this only add intrigue to the question: what have else we not yet heard from this particular part of the world that deserves to be known equally well over here – and when is this orchestra going to play it?
Every day, our 1000 best albums of all time countdown continues all the way to #1. Thursday’s album is #628:
Astor Piazzolla – Hommage a Liege
In putting this list together, we’ve tried to limit the number of albums per artist to one or two. Which with Astor Piazzolla is just plain absurd: there must be at least a dozen, maybe several dozen of his recordings that belong among the 1000 best albums ever made. Did the iconic Argentinian composer, bandleader, bandoneon player and inventor of tango nuevo put out one that stands over the rest? Frankly, no – they’re pretty much all good. We picked this dark, richly lush 1985 live album because A) Piazzolla plays on it and B) even though it doesn’t have any of his signature songs, like Libertango, it represents him well. Backed by two guitarists plus the Liege Symphony Orchestra conducted by Leo Brouwer, this is Piazzolla the classical composer rather than Piazzolla the pop tunesmith (he was both, and preferred to think of himself as the former). It’s two suites: first the epic triptych Concerto para Bandoneon y Guitarra (Intro, Milonga and Tango), then the four-part Histoire du Tango (does anybody besides us think it’s funny that the concerto is Spanish but the history is French?). This one is a musical portrait of how the style developed (with major contributions by the composer himself), from the whorehouse in 1900, to the Cafe 1930, Nightclub 1960 and Aujourd’hui (Today). If Piazzolla is new to you, get to know him via Piazzolla Radio streaming 24/7. Here’s a random torrent via musicaparalacabeza.
Although chock-full of aching bandoneon melodies, wistful and anguished strings, the Rough Guide to Tango Revival is not a particularly rough-edged compilation – but it’s definitely a global one. Compiler Chris Moss is a former Buenos Aires resident and an enthusiastic fan of the classics but doesn’t have much use for (or seemingly much knowledge of) tango nuevo, therefore, no Avantango, let alone Federico Aubele. Most of the cuts here are instrumentals, three of them Astor Piazzolla covers; in addition to the Argentinians, the artists here hail from such unexpected places as Romania and Holland. Hardcore tango fans get plenty to sink their teeth into here (and dance to, with the exception of three numbers with uptight,mechanical drum machine rhythm): as a starting point for newcomers, it’s as good a place as any to start your journey into the heart of tango’s darkness, although you might first want to stream Radio Piazzolla.
Argentinians Selección Nacional De Tango (which translates roughly as “Tango Allstar Team”) bookend the album with a dynamic-laden, richly orchestrated version of the iconic 1917 composition La Comparsita (The Little Parade) and the even lusher, wilder abandon of their version of the Piazzolla classic Adios Nonino. Their countrymen Orquesta Color Tango De Roberto Alvarez also get two tracks here, Piqueteros (Protesters) surprisingly blithe in light of its subject matter, and – the aptly titled Quejumbroso (Querulous) – homage to legendary bandleader Osvaldo Pugliese – with the uneasy staccato of the bandoneon battling the lush strings behind it.
La Madrugada (Daybreak) by Orquesta Típica Fernandez Fierro, a cover of the Angel Maffia composition is delivered in raw, fiery fashion as befits an “orquestra tipica,” i.e. oldschool group. Hungarian group Quartett Escualo makes the connection between gypsy music and tango in the Piazzolla classic Fuga Y Misterio , guitar, bandoneon, piano and strings all shadowing each other, then morphing into a dreamy extended string passage. Dutch bandleader Carel Kraayenhof bravely tackles more Piazzolla – Libertango – and dexterously puts his own stamp on it, a marvelously echoey piano-and-percussion first verse (is that tap dancing?) giving way when the rest of the band comes swirling in. German combo 6 Australes contribute La Lujanera, setting a tongue-in-cheek hip-hop lyric over a noirish cabaret arrangement, its dramatic Weimar vibe evoking a Spanish-language Dresden Dolls. Argentinian ensemble La Camorra’s La Maroma is the most intense number here, a vividly noir evocation that builds menacing ambience with a somewhat explosively percussive staccato intensity And Romanian chanteuse Oana Catalina Chitu’s Zaraza benefits from vivid Balkan tinges, especially with the strings, enhancing the unease behind the warmth of her voice. The more modern stuff here (other than a woozily fun if totally out-of-place reggaeton track by Melingo) suffers from overproduction despite some clever manuevering: no matter how clever the composition, it’s no fun dancing to a drum machine if you know what a real milonga is like.
For those wanting more of a raw edge, it doesn’t get much more raw than the rustic, remastered bonus cd of legendary oldtime tanguero Carlos Gardel, old 78 RPM scratches and all. It’s just acoustic guitar and vocals, Gardel’s mannered vaudevillian delivery quite a contrast with the frequently sly humor of the lyrics.
The latest album by self-described Romantic pianist and Carnegie Hall favorite (she’s playing there on June 12 at 8 ) Katya Grineva is a treat for fans of canonical 19th century favorites, proudly idiosyncratic and unabashedly individualistic. Grineva was seemingly born to play the Romantics, wringing plenty of angst and longing out of a mix of familiar standards, Piazzolla classics and a perhaps predictably but aptly emotional take of the Ravel Bolero. On both the Chopin Mazurka in A Minor and the Waltz in E Minor, she mines the dynamics for heart-tugging shifts that stop just this side of overwrought – yet, by contrast, she lets the Albeniz Tango breathe for itself, a smart move. Granados’ Planera Spanish Dance is likewise allowed to shimmer and gleam, at a tastefully stately pace.
Most impressively, it’s the Piazzolla that best draws out Grineva’s intensity. Adios Nonino, a requiem written right after the death of the composer’s father, is stoic yet wrenching. An abbreviated arrangement of the sprawling crazy-love anthem Balada Para Un Loco is considerably more blazing and percussive than the original, and Grineva careens through its louder passages like a woman possessed, after which Manuel de Falla’s Ritual Fire Dances makes a perfect segue. The Bolero alternates between slinkiness and impatience, a nice contrast to see in a piece where some performers find none at all.
Grineva’s Carnegie Hall show this week is billed as a family-friendly event, lots of familiar standards by Debussy, Satie and Chopin and others delivered with characteristic verve: bring a 15-year-old friend, family member or someone who looks hopelessly underage, and they get in free with your paid admission.
Concert Review: Thomas Piercy, Claudine Hickman and Pablo Aslan Play Piazzolla at Caffe Vivaldi, NYC 5/23/09
It didn’t matter that there was no bandoneon in the band: the trio of clarinetist/arranger Thomas Piercy, pianist Claudine Hickman and upright bassist Pablo Aslan managed to silence the sold-out room (no easy task!) with a practically telepathic, emotionally rich program of both familiar and more obscure compositions by the legendary Argentinian composer, along with meticulous yet spirited performances of two pieces by French jazz composer/pianist Claude Bolling. Playing mostly with a strikingly clear tone, Piercy expertly worked the nooks and crannies of the songs’ innumerable permutations, only going full throttle when the piece demanded it (and one did). With a bright yet haunting precision, Hickman was every bit his equal and Aslan, who’s only been taking classic tango to new and exciting places for about two decades with his group Avantango, alternated between stately majesty, dark ambience and fiery verve, frequently using a bow.
The first two numbers, Tango del Diablo and Milonga del Angel were a study in contrast. Piercy’s arrangement of the ominous Tango Seis found him playing the original’s violin line with a jaunty effervescence, pulling back when the piece wound its way into eerie flamencoisms. The long, catchy suite Le Grand Tango could have been made showy or done with a sentimental feel but was neither, the trio content to let its sense of longing speak for itself right up to the end where Piercy finally cut loose with a visceral intensity.
The two Claude Bolling numbers gave the group a chance to relax and play more expansively. The first, Allegre was a showcase both for Hickman’s vivid, Brubeck-esque melodicism, contrasting with Piercy’s Bach-inflected precision. The second, Romantique bookended a brisk excursion pulsing along on Aslan’s jaunty basslines with two segments imbued with plaintive, Romantic beauty. They wrapped up the program with an exquisite take of the classic Soledad, Piercy’s clarinet soaring to the heights with unaffectedly raw anguish right before the end, and closed with the vastly more optimistic, insistent Michelangelo ’70. Piazzolla, ever the innovator, would no doubt have approved. Watch this space for future performances.
“Is there anyone else who needs to leave?” grinned classical guitarist Bret Williams, “Like the guy in the back there?” He was referring to the screaming rugrat who’d erupted in rage at the end of the La Vita/Williams Guitar Duo’s first song, an anonymously springtimey piece by Brazilian composer Sergio Assad. As welcome as it is to see classical music on a program outside of the usual midtown concert halls, the infant slowly wheeled outside by a lackadaisical mother never would have made it past security at Carnegie Hall. Apparently, the church fathers at St. Paul’s Chapel today were too nice to turn her away. And this was somebody who obviously wasn’t homeless. Memo to parents: you had a choice, you had the kid, now you pay the price. No concerts for at least four years (for the kid, anyway).
What started inauspiciously got good in a hurry. Duetting with Williams was Italian guitarist Giacomo La Vita, whose fluid, brilliantly precise playing made a perfect match for Williams’ lickety-split yet subtle fingerpicking. The two ran through two pieces by Manuel de Falla, the romantic, flamenco-inflected Serenata Andaluza and the swaying, 6/8 Danza Espanola, then did two Scarlatti pieces that La Vita had arranged himself. In music this old, the emotion is in the melody, not the rhythm, and both of them dug deep into the stateliness of the tunes to find it.
The high point of the show, and probably the drawing card that got the audience in here on a cold, rainy Monday was Astor Piazzolla’s 1984 Tango Suite, another original arrangement for guitar. It’s unclear if the pantheonic Argentinian tango composer actually knew Charles Mingus personally, but the third piece in the suite definitely had the same kind of defiant scurrying around that the great American jazz composer was known for, beginning with a chase scene, running through all kinds of permutations to arrive at a fiery chordal ending. The two parts which preceded it began darkly reserved, then became expansively jazzy.
“We usually have an intermission, but we have to get up to the Upper West Side to teach,” explained Williams. “To a bunch of kids who probably haven’t even practiced. We’ve got to be there at 2:30!” And with that they burned through yet another of their own arrangements, this for De Falla’s Ritual Fire Dance, an orchestral piece every bit as volcanic as the title would imply. An impressively good crowd, especially for the time of day and the drizzle outside, responded with a standing ovation. Obviously, fans of acoustic guitar music will like these guys best, but they cover vastly more terrain than most of their colleagues, a savvy move because it will earn them more of an audience. One hopes enough to eliminate the need to rush off to a midafternoon private-school teaching gig after they’ve finished playing a great set.