Suspensefully Cinematic, High-Spirited New Classical Works From the CCCC Grossman Ensemble

The Chicago Center for Contemporary Composition’s Grossman Ensemble is the brainchild of Augusta Read Thomas. Her game plan was to create a group which could intensely workshop material with composers rather than simply holding a few rehearsals and then throwing a concert. Their album Fountain of Time – streaming at youtube – is contemporary classical music as entertainment: a dynamic series of new works, many of them with a cinematic suspense and tingly moments of noir. Percussionists Greg Beyer and John Corkill, in particular, have a field day with this.

They open with Shulamit Ran’s picturesque Grand Rounds. Oboe player Andrew Nogal, clarinetist Katherine Schoepflin Jimoh, pianist Daniel Pesca and harpist Ben Melsky get to send a shout-out to Messiaen and then a salute to Bernard Herrmann’s Hitchcock film scores. Terse accents from horn player Matthew Oliphant and saxophonist Taimur Sullivan mingle with the acerbic textures of the Spektral Quartet: violinists Clara Lyon and Maeve Feinberg, violist Doyle Armbrust and cellist Russell Rolen. Furtiveness ensues and then the chase is on! The ending is anything but what you would expect. Told you this was fun!

Anthony Cheung’s triptych Double Allegories begins with sudden strikes amid suspenseful, wafting ambience, heavy on the percussion: Herrmann again comes strongly to mind. The midsection is built around a deliciously otherworldly series of microtonal, stairstepping motives, subtle echo effects and ice-storm ambience. The finale comes across as a series of playful but agitated poltergeist conversations….or intermittent stormy bursts. Or both, Tim Munro’s flute and the percussion front and center.

David Dzubay conducts his new work, PHO, which is not a reference to Vietnamese cuisine: the title stands for Potentially Hazardous Objects. The ensemble work every trick in the suspense film playbook – creepy bongos, shivery swells, tense bustles, pizzicato strings like high heels on concrete, breathy atmospherics and hints of a cynical Mingus-esque boogie – for playfully maximum impact. It’s the album’s most animated and strongest piece.

Tonia Ko‘s Simple Fuel was largely improvised while the ensemble were workshopping it; it retains that spontaneity with all sorts of extended technique, pulsing massed phrasing in an AACM vein, conspiratorial clusters alternating with ominous microtonal haze.

A second triptych, by David “Clay” Mettens, winds up the record. Stain, the first segment, bristles with defiantly unresolved microtones, gremlins in the highs peeking around corners and hints of Indian carnatic riffage. Part two, Bloom/Moon pairs deviously syncopated marimba against slithery strings. The textures and clever interweave in Rain provide the album with a vivid coda. Let’s hope we hear more from this group as larger ensembles begin recording and playing again: day after day, the lockdown is unraveling and the world seems to be returning to normal.

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A Mighty, Majestically Orchestrated, Ambitious Album and a Vanguard Stand This Week From Alto Saxophone Titan MIguel Zenon

You might not expect Miguel Zenon to open his latest album with a cantabile pastorale, but that’s exactly what he’s done. The alto saxophonist has made some amazing records over the years – his smoldering Oye! Live in Puerto Rico from 2013 is a favorite – but his most recent one is his most ambitious yet. You could say that Yo Soy la Tradicion is his Sketches of Spain, a collaboration with the magical, microtonally-inclined Spektral Quartet streaming at their music page.

Jazz sax and strings have a history that dates back to Charlie Parker; this is a lot closer to Astor Piazzolla at his most adventurous, or Bartok, than orchestrated swing. Zenon has yet another weeklong stand at the Vanguard starting tomorrow, March 12 with his quartet and continuing through the 17th, with sets at 8 and 10:30.

The Spektral Quartet – violinists Clara Lyon and Maeve Feinberg, violist Doyle Armbrust and cellist Russell Rolen – open the album with the rather stark, almost severely precise intro to Rosario, inspired by the Catholic rosary tradition; then Zenon flips the script and builds a bubbly dance overhead that brings to mind the similarly paradigm-shifting work of Argentine bandoneonist JP Jofre. It’s catchy, almost to the point of sentimentality.

Cadenas (Chains) draws on European 20th century minimalism as well as Puerto Rican line dances, the strings’ hypnotic, insistent acerbity balancing Zenon’s folksy, airy delivery. Then the sax and quartet switch roles, a neat touch.

Yumac may have roots in rural Puerto Rican folk music – the ttile is the town of Camuy, home to popular 50s songwriter German Rosario, spelled backwards – but the music comes across as a more harmonically complex take on Ernesto Lecuona’s anthemic mashup of Afro-Cuban themes and western classical orchestration.

Milagrosa is more balmy, an unexpectedly successful mashup of spaciously sequenced postbop sax and alternately rhythmic and lush string passages, with a crescendo midway through that’s as majestic as anything Zenon has ever written.

The album’s most gorgeous track is Viejo, shifting from troubled, massed Julia Wolfe-like insistence, to an unabashedly lyrical ballad with an elegaic cello solo followed by Zenon’s broodingly wafting melody. Zenon’s tone is more biting than Paul Desmond’s, but the lyricism here is very similar.

If Bartok had a thing for Spain instead of Tunisia, he might have written Cadenza: there are also echoes of wistul, uneasy Debussy. Again, Zenon brightens the ambience, this time with flamenco allusions. Imagine Ligeti trying to reduce a flamenco tune to simplest terms: that’s the outro.

The album’s most epic track is Promesa, a diptych of sorts that refers to the Catholic festival of the Three Kings. A pensive cello solo takes centerstage over a lush backdrop that recedes to a steady, minimalist pulse, Zenon building the longest solo here from gentle pastoral colors to lively, blues-tinged spirals. Then the atmosphere shifts to artfully pulsing variations on a lively alguinaldo jibaro country dance theme.

Piazzolla, or for that matter, Lecuona would have been proud to have written the anthemic final number, based on a variant of that style from the town of Villalba. Obviously, Zenon’s Vanguard stand this week isn’t likely to showcase a lot of this material; on the other hand, with a guy who’s been known to reinvent classic Sylvia Rexach boleros, you never know.

A Parade of Jazz and Classical Talent Showcases the Sonics at Subculture

There was no need for the parade of musicians on the bill this evening at Subculture to do anything more than phone in their performances. After all, they were only there to give a by-invite-only audience of media and a few friends an idea of how both amplified and unamplified acts sound in the newly renovated space. But they did far more than that: if the quality of most of these artists is an indication of what the venue will be booking in the coming months, that’s something to look forward to. And the sonics here are exquisite, to rival the Village Vanguard and Carnegie Hall: Subculture has quietly vaulted to the ranks of Manhattan’s top-tier listening rooms.

On the unamplified side, a-cappella quartet New York Polyphony – Christopher Dylan Herbert, Craig Phillips, Geoffrey Williams and Steven Caldicott Wilson – blended voices richly and intricately in pre-baroque Palestrina motets and then with a slyly joyous new arrangement of Rosie the Riveter. The up-and-coming ACJW String Quartet – Grace Park, Clara Lyon, John Stulz and Hannah Collins – made energetic work of a Philip Glass excerpt and then took what could have been Schubert’s String Quartet No. 12 – if Schubert had finished writing it – to the next level. The famous nocturnal theme became a suspenseful springboard for animated, even explosive cadenzas, a mystery unfolding with an increasing sense of triumph. Student ensembles can be erratic, but they also bring fresh ears and ideas to a performance and this was a prime example of that kind of confluence.

On the more groove-oriented side, pianist/chanteuse Laila Biali sang her driving, playful new arrangement of This Could Be the Start of Something New with Joel Frahm on tenor sax, Ike Sturm on bass and Jared Schonig on drums. The highlight of the night, unsurprisingly, was pianist Fred Hersch, who delivered an understatedly bittersweet, strolling blend of ragtime-tinged pastoral shades on Down Home, his homage to Bill Frisell (with whom he collaborated memorably about fifteen years ago), a standout track from Hersch’s new live album, Flying Free, with guitarist Julian Lage. Singer Jo Lawry then joined Hersch and over lush, glimmering, Debussy-esque cascades, delivered a biting, half-sung, half-narrated reflection on clueless parades of tourists in the Louvre crowding around to take pics and videos of the Mona Lisa – and then moving on. The two wound up their brief set, joined by Richie Barshay on hand drum, for an electrically dancing, animatedly conversational take of the new album’s bossa-flavored title track, an Egberto Gismonti tribute.