Darkly Eclectic Composer Jay Vilnai Releases His Most Haunting Album
Guitarist Jay Vilnai is one of Brooklyn’s most individualistic, consistently interesting composers. Over the years, he’s led a fiery Romany-rock band, Jay Vilnai’s Vampire Suit and made acerbic chamber music out of Shakespearean poetry. He’s also the lead guitarist in another wild, popular Slavic string band, Romashka. His latest album, Thorns All Over – a collection of new murder ballads with text by poet Rachel Abramowitz, streaming at Bandcamp – is one of his best projects so far. In fact, it could be the most lurid, Lynchian indie classical album ever made. Vilnai is playing the album release show at Arete Gallery in Greenpoint on June 6 at 7 PM, leading a trio with violinist Skye Steele and singer Augusta Caso. Cover is $15.
The allbum’s Pinter-esque plotline follows a series of jump cuts. Likewise, the rhythms shift almost incessantly, enhancing a mood of perpetual unease. Vilnai layers eerily looping piano, desolately glimering tremolo guitar and evil, twinkling vibraphone up to a savage crescendo in the album’s opening track, The Lake: it’s all the more haunting for how quietly and offhandedly the narrator relates what happens along the shore that night.
Vilnai builds a skronky maze of counterpoint in tandem with Reuben Radding’s bass in A Woman or a Gun, a surreal mashup of what could be Ted Hearne indie opera, John Zorn noir soundtrack tableau and Angelo Badalamenti taking a stab at beatnik jazz.
“I took her to the dark forest to see if she would light the way,” violinist and singer Skye Steele intones over gloomy pools of piano, as the band make their way into The Forest. A chamber ensemble of Oscar Noriega on clarinet, Ben Holmes on trumpet, Katie Scheele on English horn, David Wechsler on alto flute build a gently fluttering tableau, a sarcastic contrast with the story’s ugly foreshadowing.
A ghostly choir – Quince Marcum, Laura Brenneman and Jean Rohe – join in an echoing vortex behind Steele’s stately angst in Heartbreak. Vilnai layers grim low-register guitar, coldly starlit piano and enveloping atmospherics in the title track, up to a squirrelly mathrock crescendo amd slowly back down: this love triangle turns out to be a lot stranger than expected.
The album’s macabre final diptych is The Night We Met: Noriega’s moody clarinet rises over creepy, lingering belltones, Vilnai’s minimalist guitar lurking in the background. It concludes as a glacially waltzing dirge. Count this as one of this year’s most haunting and strangest records: you’ll see it on the best albums of 2019 page here in December.
Brooding, Darkly Fascinating Balkan-Inspired Sounds from Ben Holmes and Patrick Farrell
Ben Holmes has a distinctive, soulfully purposeful voice on the trumpet. He plays with Ty Citerman’s Bop Kabbalah, Russian Romany party band Romashka and the funky Brooklyn Qawwali Party, among others, and on the jazz side with his quartet featuring trombonist Curtis Hasselbring, bassist Matt Pavolka and drummer Vinnie Sperrazza. Holmes also has a pensive, often haunting new duo album, Gold Dust, with brilliant accordionist Patrick Farrell. The two are playing the release show on June 7 at 8 PM at Barbes.
Much as Farrell has supersonic speed and is one of New York’s great musical wits, and Holmes tends to play tersely, with plenty of gravitas, the album doesn’t have the kind of dichotomy you might expect. Most if not all of the music here is on the somber side, and the duo lock into that mood. They open the album with a purposefully stripped-down, lithely dancing arrangement of a stately Shostakovich piece. From there they take their time building the catchy, klezmer-tinged Black Handkerchief Dance from a dirge, Farrell using every inch of register at his disposal, from keening highs to murky lows, up to a more triumphantly bouncy pulse.
The next number is a suite. Holmes and Farrell exchange warily spiraling leads and contrapuntal riffs as it opens, then Farrell anchors a grey-sky theme with an airily otherworldly, Messiaen-esque ambience, then the duo pick up the pace and make a rustically off-center Balkan dance out of it. The Shostakovich tune that follows it is all about distantly ominous foreshadowing punctuated by uneasy cadenzas.
Zhok, a brooding Balkan waltz, makes the most of a stripped-down arrangement, first with the instruments trading off and then intertwining up to a big crescendo. A New Mammon is similarly moody, a grey-sky Balkan pastorale, something akin to the Claudia Quintet without the drums taking a stab at Eastern European folk. From there they pick up the pace with a jaunty Erik Satie ragtime waltz and then go back into pensively subdued territory with Peace, whose calm ambience can’t hide a lingering unease, building suspensefully from spacious solos from both instruments to a rather guarded optimism.
From there they pick up the pace again with Honga, its tricky, Macedonian-flavored shuffle beat, animated tradeoffs between instruments and intricately ornamented trumpet leads. The final track, Romance, blends oldschool jazz balladry with a more modernist feel, Farrell leading the way. A lot of people are going to like this album, fans of jazz and classical as well as Balkan and Middle Eastern music.
Smart Balkan-Tinged Tunesmithing and Improvisation from the Ben Holmes Quartet
Trumpeter Ben Holmes’ Quartet is one of those great bands that defies categorization. Rhythmically, they are most defnitely a jazz group; melodically, they encompass everything from Balkan music, to klezmer, to a cinematic sensibility, with plenty of improvisation and elements of both the high Romantic and the avant garde. Over the past couple of years, what began as a trio has expanded to a a quartet with trombonist Curtis Hasselbring (who’s got a typically wry, witty album of his own due out momentarily from Cuneiform), Matt Pavolka on bass and Vinnie Sperrazza on drums.The group’s album Anvil of the Lord – Holmes’ second as a leader, just out from Skirl – doesn’t hammer anywhere near as hard as the the title suggests, but it is a mighty intriguing listen. Holmes has a fondness for shuffle beats along with impeccable tonal control, from an ambered gleam to rustic and gravelly, depending on context, adding tantalizing Eastern European spice to his warmly expansive melodies. Throughout the album, improvisation is drivem by a commitment to judicious exploration rather than anything remotely approaching a squawking free-for-all.
A Doodle For Rhapsody, a pensively altered klezmer shuffle anchored by Pavolka’s insistently suspenseful pedalpoint and tense, terse rising lines opens the album. Hasselbring brings a characteristic wryly bubbling touch to his firsr solo, shadowing Holmes on the way out. Magic Mondays waltzes along casually, Sperazza taking charge as the horn harmonies fall away for a similarly matter-of-fact, lyrical Holmes solo. The deceptively catchy Moving Like A Ghost shuffles and slips between minors and majors, with a transluscent, crystalline solo from Holmes, Pavolka’s restless bounce underpinning the horns’ moodily rising lines and Sperrazza’s misterioso cymbals.
Kingston isn’t a reggae song but a rather wistful waltz, Holmes using just the faintest touch of a mute as he shifts from pensive to assertive, the band swirling up a stew as Hasselbring brings in southern-tinged heat. It’s one of many instances where holding the center is left to the bass while Sperrazza supplies color, in this case a nebulous cymbal ambience.
Otessianek hints at bossa nova as Pavolka and Hasselbring come together and then methodically take it into livelier klezmer territory over a hypnotic bass vamp. The title track opens with a tongue-in-cheek, effervescent bass solo and then an animated duel from the horns as Sperrazza kicks the smoke machine into high gear.
The moody, atmospheric ballad Malach Hamovi has Pavolka channeling Chopineque morosity with his stately, tiptoeing lines, Sperrazza bringing the shuffle back via a sardonic march. Song For Creel Thompson is a rather austere midtempo swing number; the album ends with Nada Vs Armitage, the rhythm section walking the line between suspense and swing: and then the band goes for it wholehog with the nonchalant determination that permeates this expertly crafted collection. Holmes’ next gig with this unit is on March 12 at 7 PM at Barbes, setting the stage for Slavic Soul Party’s mighty brass assault.