Back at Bryant Park For an Even More Revealing, Entertaining Concert of String Quartets

The American Symphony Orchestra deserve immense credit for their courage in taking a frontline role in bringing live music back to New York at such a perilous historical moment. Likewise, the programmers at Bryant Park deserve just as much of a shout for giving musicians a space to perform when indoor spots have been ruled off-limits by Il Duce up in Albany. Concert-starved audiences whose daytime hours are free can catch an ongoing series of solo performances on the park’s electric piano at half past noon on frequent weekdays.

Monday night’s performance featured a string quartet of violinists Cyrus Beroukhim andRichard Rood, violist William Frampton and cellist Alberto Parrini playing a fascinating and entertaining mix of obscure and standard repertoire. Crowds have become immune to rote homilies like “You’re such a lovely audience, we’d like to take you home with us.” But when Frampton unselfconsciously gushed about how much of a pleasure it was to finally be able to play concerts again, there was no doubting his sincerity.

With full-on vibrato, they opened with an unabashedly Romantic rendition of Nino Rota’s Love Theme from the film Romeo and Juliet, and brought the concert full circle with the encore, Gabriel’s Oboe, by Ennio Morricone. In between, they confidently and vividly tackled three completely different but equally engaging pieces.

The first was Nino Rota’s lone string quartet, in three movements – considering the demands on his creativity as a film composer, it’s no surprise that there isn’t a fourth. From the initial movement’s soaring, lively, anthemic opening-credits energy,  the quartet turned in a robust, dynamic interpretation – more than a little cabin fever may have been exorcised at this show. The contrasts between the meticulously calm, baroque-tinged rondo and rise to a bracingly insistent minor-key coda in the second movement were striking, as the visceral triumph of the conclusion.

The group worked a spring-loaded, dynamically-charged intensity in the opening and closing movements of Samuel Barber’s String Quartet, Op. 11, its centerpiece being an even more dynamic, gossamer interpretation of the iconic Appassionate For Strings. Hearing that often whispery, achingly crescendoing movement – often played as a stand-alone piece – in the context of a greater whole was revelatory, especially when the quartet threw caution to the wind and reveled in the rise to the payoff at the end.

George Walker’s 1946 String Quartet No. 1 was the most technically challenging, thorniest work on the bill, but also the most fascinating. Much more rhythmic, bustling with constantly changing counterpoint, it’s  a crazy quilt of short, incisive, pervasively restless phrases, like a Bartok Jr. Never having heard the piece before, the simmering, nocturnal second movement came as a surprise – as did the shivery intensity of the reprise of the opening theme in the movement afterward. The dichotomy between bristling energy and plaintiveness was evoked even more strongly in the rather brief coda.

You can go on youtube anytime you want and look up every composer who ever wrote a note, but nothing compares to new discoveries brought to life before your eyes by a group who seem to be enjoying that every bit as much.

The next live performance at Bryant Park is a solo piano gig tomorrow, Sept 25 at half past noon by Yuko Aikawa.

Jazz on an Autumn Day

This has been a year of heroes and zeros like no other. One of the more recent heroes is Jimmy Katz of Giant Step Arts, who has stepped in to program a world-class series of weekend afternoon outdoor jazz concerts in Central Park at a time when musicians have arguably become more imperiled than at any other point in world history. Of the many nonprofits advocating for jazz artists, Katz’s is one of the most ambitious. Before the lockdown, he was booking a series of concerts at the Jazz Gallery, recording them for release on album and also on video, putting his own talent behind the lens to good use. Sunday afternoon’s performance on the southern end of the Central Park mall by vibraphonist Joel Ross and his quartet wasn’t like a hot Saturday night at Smalls or the Vanguard, but that didn’t seem to be the point anyway. Instead, a small, transient but generally very attentive crowd of maybe fifty people, at the most, scattered around the statue towering over the band, were treated to a thoughtful, very purposeful and occasionally outright haunting show.

Until we get Smalls and the Vanguard back again, in the short run this seems to be the future of live music in New York: communities coming together to support each other. Lately the park has become a pretty much daylong jazz festival, buskers everywhere, and several of them threw some of their own hard-earned cash into tenor saxophonist Sergio Tabanico’s open case as they passed by. A toddler sprinted up to the group in a joyous attempt to become their dancer, and the band loved it. His muzzled mom snatched him away: the child was distraught.

With mist from Tabanico’s sax and glimmer from Ross’ vibes, pedal down all the way, the group launched into the show with a wary take of what sounded like John Coltrane’s Birmingham. Drummer Craig Weinrib methodically worked his way up to the loose-limbed swing that would propel most of the set: like his bandmates, he was pacing himself. Tabanico set the stage for the rest of his afternoon, building slowly to a coda of insistent bursts and occasional shrieks against the beat.

Bassist Rashaan Carter maintained a more undulating, bubbling approach throughout the set, airing out his extended technique with harmonics in a couple of low-key solos. The bandleader was as terse as always, whether driving through steady but increasingly intense volleys of eighth notes, or providing spacious, judiciously ringing ambience behind the rest of the group.

One of the high points of Ross’ afternoon was an absolutely gorgeous, creepily tritone-infused solo to open the broodingly modal but increasingly funky third number. Another was the rivetingly allusive solo he took during an otherwise upbeat, bluesy swing tune toward the end. The group hinted they’d go further in a latin direction with a catchy, vamping minor-key number punctuated by another emphatically rhythmic Tabanico solo, but ended up holding back.

A return to pensive minor-key balladry – more Trane, maybe? – gave Ross a springboard for a stiletto-precise solo where he completely took the pedal off: it was almost as if he was playing a steel pan. Ross’ next scheduled gig is this Oct 9 at 4 PM with the Jazz Gallery Allstars at the Kennedy Center in Washington, DC.

This particular Central Park series continues on Sept 26 at around 1:30 PM with drummer Nasheet Waits and saxophonist Mark Turner, plus Carter on bass again. It’s possible the players may not be at this exact location – on this particular afternoon, there was every possible kind of sonic competition further north, so sometimes you have to move around the park a little. The mall extends from the skating rink to the north, past the Naumburg Bandshell to about five blocks further south. The closest entrance is probably at 72nd St. and Central Park West.

Gail Archer Brings Concert Organ Music Back to New York with a Rare, Fascinating Ukrainian Program

Gail Archer is not only a trailblazing organist and rescuer of undeservedly obscure repertoire. She’s also been responsible for some of the most entertaining and often rewardingly unorthodox organ music programming in this city in recent years. So it was no surprise to see her back at the console Saturday afternoon, playing what has to be one of the first, quite possibly the very first organ concert for a public audience in this city since Andrew Cuomo declared himself dictator. While the turnout at St. John Nepomucene Church just west of Tudor City was very sparse, this being Rosh Hashanah, Archer and the church’s very personable staff deserve immense credit for their commitment to bringing back the arts.

What was most immediately striking about the program – essentially a reprise of Archer’s new album, Chernivtsi, A Recording of Contemporary Ukrainian Organ Music – was how loud it was. She took full advantage of the 1956 Kilgen organ and the space’s impressive amount of natural reverb throughout a robustly seamless performance of mostly rather midrangey material.

Ukraine has a deep tradition of choral music, but less so with the organ, and as a result most of the works on the bill were 20th century vintage. Much as it was glorious to simply be able to see an organ concert in Manhattan again, this was a pensive glory. There was no Lisztian ostentatiousness, nor much reliance on the many more colors that composers from where the organ has more of a history might have brought into the music. Rather, the similarity of the timbres and registrations made for plenty of strong segues. And it’s a fair bet that Archer was premiering much of this material, whether simply for New York, or for all of North America.

What stood out from hearing Bohdan Kotyuk’s Fanfare live rather than on the album? The echo effects – a favorite concert device for Archer – and the prominence of the lows. His Benedictus: Song of Zachariah seemed much more distinctly Romantic, by comparison. The initial, blustery foreshadowing of Tadeusz Machl’s Piece in Five Movements brought to mind Charles Widor; its stormy bursts over lingering resonance later on evoked the work of contemporary composer Naji Hakim.

Archer surpassed her already colorful album version of Viktor Goncharenko’s Fantasia with a steady dynamism, and later brought out more of a lilt in the cadences of Svitlana Ostrova’s Chacona. The remaining two pieces on the bill were the most rapturous, beginning with the dark, slowly expanding majesty of Mykola Kolessa’s Passacaglia. Iwan Kryschanowskij’s arguably even more mysterious, symphonic Fantasie was an enveloping yet relentlessly restless choice of coda, Archer building starry ambience and broodingly stairstepping intensity amidst the swirl and pedalpoint, to a deliciously articulated series of chromatic themes right before the end.

The monthly series of organ concerts at St. John Nepomucene Church, 411 E 66th St. continues on Oct 17 at 3 PM with a performance by Austin Philemon.

A Rare, Fascinating Program of String Quartet Music by African-American Composers at Bryant Park

Every year, this blog (and its predecessor) has chosen both a Brooklyn and Manhattan space as best venue of the year for each borough. In 2018, not wanting to settle for the obvious (i.e. Carnegie Hall and the Village Vanguard) and frustrated by the closure of so many small clubs, the pick for best Manhattan venue went to Bryant Park. Home to an annual, multi-night accordion festival as well as plenty of jazz festivals, chamber music and global sounds over the years, the space had earned it. In a long-awaited and highly auspicious return to live classical music there last night, a quartet featuring members of the American Symphony Orchestra played a rich, rare mix of music by African-American composers.

They opened with Adolphus Hailstork’s Three Spirituals For String Quartet, which quickly took on a gently benedictory ambience as the four musicians joined in unison in a lullaby theme. Cellist Alberto Parrini gave it a delicate pizzicato pulse, the group rising to distantly blues-tinged variations over an increasingly vibrant, dancing drive.

Violinist Phillip Payton, who’d put together this fascinating program, played first chair for that one and then switched positions with the ASO’s concertmaster, Cyrus Beroukhim for Jessie Montgomery’s 2008 piece Voodoo Dolls. Parrini and first-chair ASO violist William Frampton dug in with their bandmates for a recurrently grim, staccato pedalpoint, akin to Julia Wolfe at her bluesiest. Bracingly glissandoing chords set off a suspenseful lull, then the group bowed hard and swooped through the finale. Payton made no secret of how much he loved that piece: it was the big hit of the night with the audience, a relatively sparse but raptly attentive crowd of maybe sixty people scattered across the space behind the library.

Next on the bill were movements one, three and four of Florence Price’s Negro Folksongs in Counterpoint for String Quartet. The quartet matter-of-factly worked steady, Mozartean exchanges as the music shifted from a pensive, old-world minor-key theme to a more warmly enveloping atmosphere that seemed to draw as much on the French Romantics (Faure most noticeably) as the African-American gospel tradition.

Coleridge-Taylor Perkinson, as Payton explained, bridged a lot of genres. He played in Max Roach’s jazz group and later arranged for Marvin Gaye. His String Quartet No. 1, “Calvary, ” contained “A lot of notes we’re not expected to play,” Payton grinned,, “Very jazzy harmonies!” He wasn’t kidding. Steady, rapidly strolling bluesiness quickly receded for more chromatic, brooding passages, like Bartok at his most unadorned. From there the ensemble followed a counterintuitive downward arc, from shivery counterpoint, a tease of a big swell and then crepuscular, flickering pianissimo textures that gently filtered away. The final movement, with its wickedly catchy cello lines, delivered a triumphant, anthemic payoff.

Trevor Weston’s Juba for String Quartet, the newest piece on the bill, seemed to be a study in how far from the blues a series of variations can go. In this group’s hands, that meant pretty far, and involving some extended technique, but also not so far that the center was lost. Terse, spare riffs were spun through a kaleidoscope and then back, through numerous dynamic shifts and ghostly harmonics.

William Grant Still’s first symphony, Payton explained, was in its time the most-played orchestral work by an American composer. His three-movement Lyric Quartette (Musical Portraits of Three Friends), from 1960, was the final piece on the bill. The composer’s eclecticism was front and center here, more than alluding to Romany swing after a fondly Romantic song without words to open the triptych, later finding common ground between Indian carnatic music and the blues. Quasi-microtonal flickers added depth to the incisively minor-key, jubilantly emphatic conclusion and its coyly Beethoven-ish series of false endings.

The quartet encored with Price’s heartwarmingly familiar variations on Swing Low, Sweet Chariot. The organizers behind the music at Bryant Park seem to be determined to help this city get back to normal; their long-running series of solo shows on the park’s electric piano continues on several weekdays into next month. This string quartet return there on Sept 21 at 5:30 PM with a program including works by Samuel Barber and Nino Rota.

Live Music at Lincoln Center Again: #exhale?

What a beautiful, heartwarming experience it was to be walking past Lincoln Center in the early evening of August 7, right at the moment when a fifteen-piece brass ensemble was premiering a newly commissioned Anthony Barfield piece.

That’s not to imply that there hasn’t been plenty of live music all over New York during the lockdown. But lately a lot of it is restaurant gigs. On one hand, it’s great to see musicians being able to get at least a little paying work. But there’s no need for reportage on background music that hungry crowds with cabin fever are bound to talk over.

And much of the rest has been been fraught with anxiety. What if somebody on the invite list is a collaborator? Are we being too loud and obvious? Are we going to end up in some hideous new Auschwitz somewhere in the wilds of Arkansas if a sinister, nameless squad in riot gear shows up and catches us sitting a comfortable two or three feet from one another? The Afghani people dealt with issues like that under the Taliban. A wide swath of population from the Black Sea to the Danube dealt with similar situations under the Ottomans. Who knew that we ever would under Cuomo.

Which is why Barfield’s brand-new Invictus – latin for “unconquered” – was so uplifting to witness. He’d obviously sussed out the sonics on the Lincoln Center plaza to maximize the natural reverb that bounces off the opera house and back past the fountain, the musicians spaced at least ten feet apart in a semi-ellipse. The work itself is a guardedly optimistic, circular series of variations on a catchy three-note riff, with more than an echo of Philip Glass. The group played it twice, with some impromptu rehearsing in between. You can watch the final take at Lincoln Center’s streaming page. Introducing it, the composer explains that it reflects both the hope of the Black Lives Matter protests as well as the grim uncertainty of the lockdown.

Looking toward the center of the campus from the street, was that New York Philharmonic principal trombonist Joseph Alessi in the hat? Actually not. The group, a mix drawing from several Lincoln Center ensembles, played with dignity and seamlessness. Hats off to trumpeters Marcus Printup, Marshall Kearse, Raymond Riccomini, Christopher Martin, Neil Balm and Thomas Smith; trombonists John Romero, Colin Williams, David Finlayson, Dion Tucker and Zachary Neikens, horn players Anne Scharer, Richard Deane and Dan Wions, and tuba player Christopher Hall.

There’s likely to be more like this in the weeks to come; you will probably have to be in the neighborhood to catch it live. And the Philharmonic are sending a truck featuring various small groups around the five boroughs for impromptu performances. They’re not disclosing where they’ll be for fear of drawing crowds. If such a beloved and life-affirming institution as the New York Philharmonic are that worried, you know we’d better be too.

Rapturous, Innovative String Music All Over Midtown

When she first formed the Momenta Quartet, violist Stephanie Griffin probably had no idea of how many hundreds of premieres the group would play, a list that continues to blossom. That same fascination with brilliant obscurities and new ideas has informed her work outside the classical world, as one of the few conservatory-trained players who’s just as comfortable and acerbic in jazz improvisation (some would call that “creative music,” but all good music is creative). Her next scheduled New York gig was scheduled for March 20 on a killer triplebill that starts at 7:30 PM at Metro Baptist Church at 410 W 40th St. past 9th Ave.) but is now cancelled. Jazz guitarist Amanda Monaco, who lately has been exploring klezmer infuences, was slated to open the night with her trio, followed by flutist Cheryl Pyle‘s Musique Libre trio, and then Griffin with a chamber jazz quartet, along with pianist Gordon Beeferman playing the world premiere of her first-ever work for solo piano.

One of Griffin’s most interesting recent New York performances was last month, as a member of the Argento Ensemble, on a characteristically diverse, edgy program featuring works by Schoenberg and Erin Gee. It was more than a little embarrassing to get to the show almost an hour late, but the friendly folks at the Austrian Cultural Forum had saved a seat, even though the show was sold out: thanks, guys! And fortuitously, there was still time to catch the group playing a deliciously dynamic, sometimes velvety, occasionally chilling version of Schoenberg’s Verklarte Nacht as well as the world premiere of Gee’s Mouthpiece 29b.

Throughout the former, the sense of the composer aching to break free of late 19th century conventions was visceral. Contrasts between starkness and lushness, Debussyesque bittersweetness and the strange new world that Schoenberg would open the floodgates for were consistently striking. The sting of Mari Lee’s violin was a standout, from the work’s almost frantically volleying crescendos, to the somber lullaby at the end. The rest of the group, which along with Griffin also included violinist Doori Na, violist Jocelin Pan, cellists Michael Katz and Serafim Smigelsky and bassist Tristen Kasten-Krause, dug in just as deeply.

Gee explained to the crowd that she’d written her playful, dauntingly innovative piece in the International Phonetic Alphabet rather than in any extant language. Just witnessing her command of flittingly crisp, almost backward-masked syllables as the ensemble echoed her with sepulchral wisps and glissandos was breathtaking. It’s a very entertaining piece of music, just as challenging for the strings as for Gee, involving both singing and occasional whistling from what seemed to be most of the group. Gee’s surreal, individualistic sound world is like no other on this planet because there isn’t one, other than maybe Meredith Monk’s, as a point of comparison.

Argento’s next scheduled performance is April 18 at the Tenri Institute, with works by Bethany Younge, Yotam Haber and Alma Mahler; cover is $tba.

Twin Peaks Chorales and a Mysterious Ritual From Mary Prescott at Roulette

A jubilant howl emanated from the dressing room last night at Roulette seconds before the nine members of Mary Prescott’s ensemble took the stage for her hauntingly immersive performance piece Loup Lunaire. It began rather coyly but quickly took a much darker turn. Part choral suite, part dance performance, the choreography was every bit as compelling yet as enigmatic as the music, to the point where it wouldn’t be fair to spoil the plot. Inspired by the wolf mother archetype – depicted here as responsible yet more or less alone – along with behavioral cycles in nature, the piece is a precursor to another work, Mother Me, which Prescott and Cara Search will perform on May 6 as part of a semi-monthly Roulette residency.

Luisa Muhr was the first to let loose a howl onstage, but it wasn’t long before the responding round of wolven voices from the rest of the group – Prescott herself stage left, joined by Search, Noa Fort, Ariadne Greif, Joy Havens, Nina Dante and the lone man in the cast, Chanan Ben Simon – had reached a peak and then scattered downward.

Prescott’s strikingly translucent, distamtly disquieting themes gave the singers plenty of room to join in increasingly intricate webs of counterpoint, and sometimes back from there. The compositions evoked styles as diverse as rapturous Hildegard hymns, wistful Appalachian folk, Caroline Shaw’s maze-like work with Roomful of Teeth, Angelo Badelamenti’s Twin Peaks soundtracks, and Indian canatic music. What was consistent was a pervasive unease, amplified by how surealistically one segment would overlap into another.

Meanwhile, onstage behind the dancers, guitarist David Torn added extra levels of angst, or menace, or outright dread, with airy washes of sound as well as several long, majestically mournful Pink Floyd interludes. Nobody does David Gilmour in lingering cumulo-nimbus mode better than this guy.

The series of narratives among the dancers were similarly somber, much of the action in elegant slo-mo. Their buoyantly simple, flowing costumes were sometimes augmented by a little onstage dressup – Prescott’s expression as she was tidied and prepared for the next stage was priceless, and too good to give away. Purification, or at least forgiveness for some unnamed (or unnamable) sin seems to be part of the picture – no spoilers. It’s impossible to find fault with this piece. The dancers are all strong singers, individual role-playing was sharp, choreography briskly executed, lighting a thoughtful enhancement, and the guitar was as vivid as the vocals. Roulette hit a bullseye in commissioning this.

Melody Fader Channels the Deepest Side of Chopin and More in Manhattan and Brooklyn

Pianist Melody Fader’s favorite composer is Chopin. And it shows. The audience at her intimate, solo Soho Silk Series show last month gave her a standing ovation that went on and on, after she’d ended the program with a characteristically intuitive take of the composer’s famous Fantasie-Impromptu op. 66. Maybe that’s because she didn’t play it as if it was the Minute Waltz, as certain hotshot players tend to do.

Instead, revealingly, she took her time, letting the gritty Romany chromatics of those daunting cascades gleam, rather than just leaving momentary flickers behind in a race to the finish line. That was just one of the concert’s innumerable gorgeous details. On one hand, that’s to be expected on a program of music by a classical icon or two; still, Fader seems especially dedicated to finding those delicious bits and spotlighting them. She’s a pioneer of the house concert circuit (not to be confused with the evil and intrusive Groupmuse); her next Soho loft show is Feb 25 in a duo set with Momenta Quartet violinist Emilie-Anne Gendron playing  music of Ravel, Brahms and Schumann. You can rsvp for location and deets; for the Brooklyn posse, they’re repeating the program (from their forthcoming album) the following night, Feb 26 at 7 PM at Spectrum for a modest $15 cover.

The rest of the January bill was just as much of a revelation. It’s impossible to remember anyone playing more emotionally attuned versions of the E Minor and B Minor preludes. They’re standard repertoire, they don’t require virtuoso technique, but what a difference Fader’s subtle rubato and resoluteness in the face of sheer devastation meant to the former. Same with her crisp but muted arpeggios, bringing out all the longing in the latter. The dynamics in the rest of the first eight of Chopin’s preludes were just as vivid, from the warm cantabile she brought to the C major prelude, to the catacomb phantasmagoria of the one in A minor and a welcome suspense in A major later on.

From there, there seemed to be an inexhaustible supply of depth, and gravitas, but also in many places unselfconscious joy. Fader averred that as a kid, she didn’t like Bach: she found his music mechanical. These days, she’s done a 180, validating that with a dazzling, harpsichord-like precision but also fierce ornamentation throughout a rousing take of his French Suite in E, no. 6.

Kaija Saariaho is also a big Bach fan, so following with her Ballade was a great segue, even if the rhythms tended toward the tango Fader had found lurking inside the early part. The stygian boogie and jaunty cascades afterward were just as intense.

The wary, muted melancholy as she launched into the Chopin Ballade no. 2 in F major was a feature that sometimes gets lost in more ostentatious hands. By contrast, she pulled out an almost grand guignol attack for the Andante Spianato op. 22, yet pulled back with a guardedly hopeful understatement afterward. Amd the glittery tumbles of the Etude op. 25 no. 1 got the same kind of articulacy she’d given the Bach. By the time this was all over, pretty much everybody was out of breath.

Endea Owens Brings Her Jazz Party to Lincoln Center

Last night at Lincoln Center, bassist Endea Owens emerged from behind the audience and earned a spontantous clapalong from the crowd on a brisk version of Stevie Wonder’s Higher Ground, getting a growly, funky tone out of her shiny beige Fender Jazz model. The band simmered behind her: Jonathan Thomas on Rhodes, Shenel Johns and Jay Ward on vocals, and a three-piece horn section of Jeffrey Miller on trombone, Irwin Hall on tenor sax and Josh Evans on trumpet. What was coolest was how Owens stuck with tightly coiling riffs and steady walks instead of the slaphappy garbage some four-string people fall into when they plug in.

“The next song is an original composition called Feel Good. Before we get started, I just want to tell you why I wrote it.” The suspense was killing. “I wrote it because I wanted to feel good!” So much for awkward confessions in front of an audience.

Switching to upright, Owens gave her tune the same kind of spring-loaded, riff-driven groove, even during a long crescendoing solo, Evans choosing his spots to blast out of drummer EJ Strickland’s pummeling swing. Owens’ debut album Feel Good Music is due out later this month: truth in advertising.

Johns returned to ease her way airily into Marvin Gaye’s What’s Going On, the horns slowly rising to a jaunty series of dixieland-tinged licks. Hall matched the cheer of the original in an extended break; Miller chose his spots with a bluesy gravitas. When Johns got to “War is not the answer,” that’s where she really picked it up.

Owens is doing the same thing with soul music that the golden age jazz artists did with showtunes. “Feel good music means thinking about going back home – you’re going to hear a lot of Motown tonight,” the native Detroiter grinned. She likes Donny Hathaway: inspired by a good soundcheck, she scrapped her arrangement of Someday We’ll All Be Free for a simple, summery piano/vocal duet by Thomas and Ward.

Owens wrote For the Brothers in the wake of the murder of Trayvon Martin, but now she sees her resolutely bouncy triplet funk number as something for everybody. “A lot of my friends went through troubles with police brutality…and just being slighted in life, It takes all of us, it doesn’t just take a song, it takes effort from all of us,” she reminded. Triggered by Thomas’ gospel solo, the crowd engaged themselves again.

Owens sent the whole band away for a solo piece, Yesterdays, in D minor, her favorite key as a budding bassist. It was a knockout: gritty and spacious to begin, then a defiant strut spiced with clenched-teeth eighth-notes and an unexpectedly somber ending. The band came back up for a bluesy ba-BUMP take of Can’t Get Next to You, echoed by a Johns/Owens duet of Quincy Jones’ Celie’s Blues.

A percolating minor jump blues also sizzled with Thomas’ sabretoothed modalities and Owens’ jubilantly striding lines. Owens and Johns tried teaching the audience the electric slide, without much luck. Then she and the band ran off to Dizzy’s Club a few blocks south to play a late-night set, where she’ll be through this Saturday night, Feb 15 at 11:30 PM for a measly $10. The mostly-weekly Thursday night free concert series at the Lincoln Center atrium space on Broadway just north of 62nd St. continues on Feb 20 at 7:30 PM with a high-voltage oldschool salsa dura dance party featuring longtime Tito Puente sideman John “Dandy” Rodriguez’s Dream Team band. Get there early if you’re going.

Rapturous Violin/Tuba Rarities at Barbes

“Some of my songs are based on basslines, but some of them aren’t,” Bob Stewart said enigmatically to the crowd at Barbes, a couple of Saturday nights ago. What’s the likelihood that the guy who’s arguably the best tuba player in the history of jazz would play Brooklyn, let alone the back room at this cozy Park Slope hotspot?

It happened. A handful of New York’s best low-register musicians came out along with the cognoscenti to catch him in a spine-tingling one-off duo set with violinist Curtis Stewart. They covered all the bases, from the muddiest lows to the most ghostly, whistling high harmonics. The tuba player is a known quantity as one of this century’s great blues musicians, but the violinist distinguished himself just as much with his edgy, oldtime gospel-infused lines, broodingly resonant vistas and searingly precise riffage.

The original compositions had a lot of intertwining melody between the lows and the highs, their composer seldom employing the kind of ostentatious, upper-register extended technique that a lot of tuba players like to show off: this guy is all about the melody. He marveled at what a great bassline the gorgeously latin-tinged Frank Foster ballad Simone has – and then reveled in that slinkiness as he wound those phrases upward, adding flourishes as the energy rose. One of the last songs in the set was a minor blues by Don Cherry with an unexpectedly strange turnaround. The duo closed with a mutedly regal, slowly shuffling, distantly New Orleans-flavored original.

Barbes is a rare small club that features tuba music on a regular basis: brass band Slavic Soul Party hold down a weekly Tuesday residency that starts at about 9 PM. As far as violin music there is concerned, haunting Turkish band Dolunay, with the brilliant Eylem Basaldi, are playing on Feb 28th at 8.