Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Momenta Quartet Stage a New Classic of Classical Music for Children

How can you tell if a chamber music performance is appropriate for children? By how the kids react, for one. Yesterday morning, the Momenta Quartet’s boisterously amusing multimedia show, The Lost String Quartet – by their violist Stephanie Griffin – kept two busloads of five-year-olds engaged and for the most part equally well-behaved for over an hour. It’s one thing to keep a preschooler close to you, with the occasional reminder to sit still. Two whole posses of them, all surrounded by their fellow crazymakers, completely change the game.

The plot, based on N. M. Bodecker’s now out-of-print 1983 children’s book, concerns not a missing piece of music but a missing ensemble. The Momentas  cast themselves as the musicians, abetted by actor Fernando Villa Proal, who chewed the scenery with relish in multiple roles as emcee, truck driver, prison warden and several other personalities. The plot follows the misadventures of a quartet who have to deal with all sorts of vehicular drama on their way to a gig – late. And much as the humor is G-rated, it’s far more Carnival of the Animals than Peter and the Wolf. The group have to go down into the sewer at one point – ewwww! The kids loved that.

And like the Simpsons, the jokes have multiple levels of meaning, the musical ones especially. Adults, as well as older gradeschool children who have some familiarity with standard classical repertoire, will no doubt get a big kick out of them. In a mostly wordless performance, the group acquit themselves impressively as actors, in expressively vaudevillian roles. Are violinists Emilie-Anne Gendron and Alex Shiozaki really the merry prankster and space-case introvert in the group? Is cellist Michael Haas as dangerously stubborn as his role, or Griffin the quartet’s deus ex machina? That could be an inside joke.

Griffin’s score, some of it improvisational, is sublime, and the group sink their fangs into it, no small achievement considering the physical demands of the acting. Just the slithery, menacing, distantly Indian-tinged viola solo that opens the show, and appears later in disguise, is worth the price of admission. The deliberately educational moments, i.e. how a string quartet’s instruments differentiate from each other, are understated and flow seamlessly within the narrative.

As you would expect, a lot of the music – usually performed in configurations other than the full foursome – is pretty broad too, if hardly easy to play. Doppler effects, sirens, sad-face wah-wah riffs and the like pop up all over the place. But the rest is more carnivalesque than cartoonish There’s vastly more of a Bartok influence, or for that matter echoes of Luciano Berio or Jessica Pavone, than there is buffoonery.

What’s most impressive is that the quartet do double duty as what might, in tightlipped chamber music lingo, be called a hybrid ensemble. Who knew that Haas was such a capable percussionist, playing discernible melodies on found objects including a car door panel and oil pan? Or that Griffin could spiral around on melodica as if she was Augustus Pablo?

This is where the show’s subversive undercurrent takes centerstage What the Momenta Quartet are proposing is tthat if we expose kids to the avant garde when they’re young enough, they’ll be smart enough to laugh at any older, know-it-all Grinch who might sneer, “Oh, contemporary classical music, it’s so harsh and boring and pretentious.”

This piece has a huge upside. The quartet could tour it if they could find the time – it’s hard to imagine a cultural center in this country who wouldn’t stage it. It’s probably an overstatement to suggest that it could be a Broadway hit. Then again, kids are certainly ready for it. Be the first family on your block to see it when the Momenta Quartet’s perform it tomorrow, Dec 10, with sets at 10 and 11 AM at the Time In Children’s Arts Initiative, 227 W. 29th St, Studio 4R just north of FIT. Admission is free, and reservations are highly recommended.

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December 9, 2017 Posted by | avant garde music, children's music, classical music, concert, drama, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Album of the Day 8/30/11

Playing a little catchup today as we assemble a brand-new live music calendar for NYC – for our sister site, New York Music Daily. For those of you who’ve been following this list from the beginning, not to worry, we’ll get back on track, we did before and we’ll do it again. In the meantime, as we do every day, our 1000 best albums of all time countdown continues all the way to #1. Tuesday’s album was #518:

King Tubby Meets the Rockers Uptown

Not bad for a bunch of cover versions that were all initially released as b-sides. Along with Lee “Scratch” Perry, the late King Tubby is considered to be one of the inventors and early giants of dub reggae, and this is his high-water mark. As you would expect with a hit album from Jamaica, 1976, versions exist which are credited to King Tubby himself (who engineered it), others to the other groove genius behind this, producer/melodica player Augustus Pablo. Either way, it’s a woozy, intoxicating ride, guitar, horn flourishes and all those echoey drum bits fading up and then out of the picture. Many of these songs rework hits by Jacob Miller, including the title track, Stop Them Jah, and Each One Dub, while Frozen Dub reinvents an old Heptones hit. There’s also Keep on Dubbing; Young Generation Dub; 555 Dub Street; Brace’s Tower Dub (part one and part two); Corner Crew Dub; Skanking Dub and Satta Dub. The late 80s reissue comes with four bonus tracks, included here in this random torrent via It’s Coming Out of Your Speaker.

September 1, 2011 Posted by | lists, Music, music, concert, reggae music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

El Pueblo Take You to the Islands

The cover image of El Pueblo’s new cd, a map of the Caribbean, pretty much says it all: they play just about every style of reggae ever invented, including some they can take credit for coming up with themselves. And they do it well: if their new album, Isla, is any indication, they could stretch pretty much all of these tracks out into mind-warping psychedelic dub. It’s a mix of instrumentals and vocal numbers in both Spanish and English, featuring Robert Julian’s skanking reverb guitar, Lucas Leto’s shuffling drums, Kevin Sherman’s tasteful bass and Jeremy Danneman’s warmly balmy alto sax along with guest Danny LoPresti’s bubbling organ on two tracks. For the instrumentals, the obvious comparison is the Augustus Pablo classic East of the River Nile, if you substitute sax for the melodica and take the energy level up about a hundred degrees. The songs are a strikingly original blend of roots reggae with edgy rock en Español tinges, frontman Chino Sing’s casual, laid-back presence a perfect match with the band.

The album opens with its most dub-flavored track, Babylon Is a Chain Gang, textures rising and falling out of the mix Lee “Scratch” Perry style – and then they suddenly come out of the smoky cloud with sunny sax. They follow it with the first of two chorus box-driven reggae-pop tunes and then Dejate Llevar, which is catchy and Marleyesque, like something off the Kaya album, with a sly wah-wah guitar solo. Cabarete sounds like a vintage Skatalites instrumental gone halfspeed, with Danneman’s low, sultry clarinet taking the lead. One of the best songs here is the workingman’s anthem Babylon System Slave: “Don’t talk to me about freedom,” Sing asserts, not with 40 hours of misery looming in the week ahead. The other is the absolutely gorgeous El Capata, a swinging, hypnotic, Americana-tinged ballad rich with jangly, clinking acoustic guitar textures. There’s also the title cut, a big, guitar-fueled reggae anthem, a couple of playful, fun dub-tinged instrumentals, the lively ska jam Tatica’s Town and the closing track, The Ocean, a thoughtful reggae-rock ballad with gentle waves of reverb guitar. What a fun summertime album. El Pueblo play Shrine uptown on 8/27 at 9 PM.

August 7, 2010 Posted by | latin music, Music, reggae music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment