Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Wild Balkan Intensity from A Hawk and a Hacksaw

Neutral Milk Hotel made some good music but nothing this amazing. A Hawk and a Hacksaw were originally a solo project of that band’s drummer Jeremy Barnes, which grew both in members and diversity as he immersed himself in Eastern European music, including a noteworthy collaboration with Hungarian group Hun Hangar Ensemble. Their new album Cervantine is characteristically intense and eclectic, something of a cross between the “new Balkan uproar” of Ansambl Mastika and the hypnotic dancefloor string-band grooves of Copal.

The epic masterpiece here is No Rest for the Wicked, a blistering suite of what are essentially variations on a fiery Balkan brass piece: accordion and strings picking it up, a long, suspense-building crescendo, a couple of wildly adrenalizing accordion solos and a graceful march out. It’s nothing short of breathtaking. They don’t try to outdo themselves after that, instead following with a lushly clanging, hypnotic bouzouki vamp. Espanola Kolo is a deliciously ominous gypsy tune, morphing from a somber march to wild ensemble passages with a particularly artful section with the brass and accordion going doublespeed against the stately grandeur of the strings. The title track follows, quieter and more brooding but similarly tuneful, featuring a raw, intense, tremolo-picked saz lute solo.

They take the popular gypsy standard Uskudar and give it a lush, understated majesty and a bracing violin solo that throws off all sorts of otherworldly overtones. Laszlo Lassu is a tone poems of sorts with an unexpectedly effective gospel flavor; after that, they pick up the pace with another crazed Balkan dance, shifting from the delirium of a hook that they run again and again that builds to one of the most darkly memorable choruses here. The album winds up with a gorgeously plaintive bouzouki song playfully titled The Loser. The band will be on West Coast tour starting in March (check their site for tour dates).You’ll see this on our Best Albums of 2011 list at year’s end.

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February 15, 2011 Posted by | gypsy music, middle eastern music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Gaida at BAM Cafe, Brooklyn NY 5/7/10

Syrian/American chanteuse Gaida’s new album Levantine Indulgence made a big splash in Middle Eastern music circles when it came out in March. Last night’s show made believers out of a largely local crowd that didn’t know what to make of her for the first few songs, but by about halfway through she had them dancing, clapping along and responding with an uninhibited joy. She’s a star on the way up. Fairouz is her big influence, but like Fairouz she doesn’t limit herself to one style – she’s taking emotion-drenched Middle Eastern art-song and pushing the envelope with it. Backed by a shapeshifting sextet including jazzy pianist George Dulin, upright bassist Jennifer Vincent (also of Pam Fleming’s all-female quartet) and acoustic guitarist Arturo Martinez along with sensationally good oud, percussion and buzuq players, Gaida delivered the songs in a crystalline high soprano that ranged from disarmingly coy to wrenchingly intense.

They started out with a jazz feel, sort of a habibi blues with distant echoes of Fairouz, a pensive story of unrequited love backed by just piano, guitar and bass. Gaida brought in the whole band for a swaying version of the levantine bossa nova of Illak Shi, taking the first of several vocalese improvisations with a melismatic attack that was as nuanced as it was poignant and on this song, downright heartwrenching.

A slow buzuq taqsim led into the slinky levantine anthem Dream, another cut from the new album, followed by the sly, metaphorically laden Almaya, the tale of a guy following a girl carrying her full bucket home from the village well. A couple of the songs had distinct latin tinges: an old Lebanese number from 1950 featuring some eerie, distantly glimmering piano from Dulin that wound up with understated menace as the outro wound down to just piano and guitar, and a scurrying, tangoish shuffle featuring another intense vocalese interlude. They also debuted a hypnotic, pensive new song written in rehearsal a couple of days before, frenetic buzuq trading off artfully versus casually strummed guitar and then vice versa. They wound up the set on a high note with a brisk, bouncy Yemeni song, the serpentine, anthemic Ammar (another standout track on the new cd) and encored with a standard that made yet another showcase for Gaida’s matter-of-factly plaintive, resonant vocal presence.The crowd wanted more but didn’t get it – and then joined the line for the cd table.

May 8, 2010 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment