Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Smashing Debut by Percussion Ensemble Pathos Trio

It takes a lot of nerve for a group to play four world premieres at their first-ever concert together. Friday night at Arete Gallery, Pathos Trio validated both their confidence in choice of composers as well as their mutual talents, making a debut to remember. That may be all the more impressive in that they didn’t even have all their regular members. Peter White, playing vibraphone, bells and a vanload of other bangable objects, subbed manfully for percussionist Marcelina Suchocka.

This may be a new ensemble, but each of the members has extensive credits in the world of new music. The three opened with Alyssa Weinberg‘s dynamically churning Delirious Phenomena, a surreal portrait of a factory haunted by mischievous ghosts, or so it seemed. White, Felix Reyes and Alan Hankers worked the guts of a meticulously prepared piano, using mallets for murk and looming swells, then piano wires wrapped around individual strings inside for timbres that ranged from keening, to whispery, to a spot-on facsimile of a french horn. Hypnotically circling patterns and atmospheric washes rose and fell, up to a sudden, coy ending.

Thundering bursts from bass drum and gongs contrasted with eerily tinny resonance emanating from bowed bells, vibraphone and spare piano in Finola Merivale‘s Oblivious Oblivion, a macabre, apocalyptic global warming tableau. A long, cruelly crushing study in wave motion and long, ineluctable upward trajectories, it also ended suddenly, but 180 degrees from where Weinberg’s piece had landed. It was the showstopper of the night.

Evan Chapman‘s Fiction of Light came across as the kind of piece a group can have fun playing, but that didn’t translate to the audience. Reyes and White really got a workout keeping its machinegunning sixteenth notes on the rails, but ultimately this loopy triptych didn’t cohere despite a rather compelling, minimalist rainy-day piano interlude midway through.

The three closed by employing the entirety of their gear throughout Alison Yun-Fei Jiang‘s spacious, vivid Prayer Variations, an increasingly majestic depiction of the vastness of cathedrals the composer’s been visiting lately. As with Merivale’s work, the group nimbly developed its series of long, meticulously interwoven crescendos, from White’s rippling, gamelanesque vibraphone, to Hankers’ tersely plaintive piano, to Reyes’ triumphant accents on the drums and cymbals.

Over the past ten years or so, New York has become a hotbed of good percussion ensembles who’ve drawn the attention of similarly innovative, ambitous composers. With just one show under their respective belts, Pathos Trio have elevated themselves into those elite ranks alongside Yarn/Wire, So Percussion, Tigue, Iktus and Ensemble Et Al. Pathos Trio’s next show is a free concert at 7 PM on March 16 at the New World Center, 500 17th St, in Miami Beach.

March 2, 2020 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Another Tuneful, Fascinating, Hypnotic Album from Ensemble Et. Al.

Idiosyncratic, cutting-edge percussion group Ensemble Et. Al. create catchy compositions with hypnotic grooves that bridge the gap between chillout instrumentals, pastoral jazz and indie classical music. Their previous ep When the Tape Runs Out was a lot of fun, as is their new one Present Point Passed, streaming at the group’s Bandcamp page. The quartet of group leader Ron Tucker, J. Ross Marshall, Jeff Eng and Charles Kessenich plays the album release show at Spectrum at 8 PM on Jan 18.

The opening track, No Matter How Fast You Run Today sets the stage for the rest of the album, a shuffling, mechanical series of cymbal loops underpining a resonant vibraphone melody. The tune’s warm/cold dichotomy reminds of a more minimalistic version of vibraphone-driven jazz sensations Bryan & the Aardvarks.

A Brief Story Without an Ending works a similar contrast through a series of simple, direct, modal vibraphone vamps that rise and fall on waves from the drums and cymbals. An Afterword of an Image balances mechanical marimba phrases against steady bells and resonant vibraphone that ebb and flow with a hypnotic, carillonesque grace. Choose Your Own Adventure takes a rather droll riff that sounds like a doorchime and weaves it amid long, suspenseful crescendos that begin as drones and peak with a restrained, precisely rippling intensity.

Where the Past Goes Once You Forget sets echoes of both carillon and gamelan music to a tricky tempo with insistent countermelodies and a simple, catchy synth bassline. The final track, Clock-Watching Isn’t Waiting weaves a couple of mechanical vibraphone riffs into a lullaby of sorts to which the ensemble adds more jaunty but similarly hypnotic, intertwined variations. If lingering, intricate and understatedly rhythmic tunesmithing is your thing, this music will draw you in and hold you rapt.

One closing thought: because this group uses synth bass here and there, why not put bass on all the arrangements? That isn’t to say that the group’s sound is lacking in any way, only that a harmonic anchor on the low end and yet another intriguing texture where presently there isn’t much of one would make this music even more captivating.

January 7, 2014 Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Intriguing, Catchy, Resonant Sounds from Ensemble Et. Al.

Over a year ago, adventurous percussion group Ensemble Et Al sent a package of files over the transom here. Where they sat, and sat, waiting patiently for their turn on the front page. At last, that time has come: their ep When the Tape Runs Out is a lot of fun. Most of it is streaming at the group’s Bandcamp page, along with their ep of group leader Ron Tucker’s arrangements of works by Arvo Part and Goldmund (Keith Kenniff) which is available for free download.

The opening track, A Beautiful Walk Through Industrial Wasteland builds to a groove that closely resembles Bill Withers’ Use Me. If that’s intentional, it’s clever; either way, the intricate, gamelanesque assemblage of lingering vibraphone, marimba and glockenspiel tones along with less resonant metal and wood objects played by Tucker, J. Ross Marshall and Charles Kessenich manages to be both hypnotic and catchy. In a Crowded Room with Nothing to Think About works a playfully direct, Steve Reich-ish circular theme into a series of charmingly chiming layers. A disarmingly attractive, rather Lynchian lullaby, Confessions of an Honest Man balances atmospheric lows against tersely ringing highs.

Finding Simple Wonders As the Day Turns the Night develops a wickedly memorable minimalist melody into an eerie music box-like theme over an implied trip-hop groove. The ep closes with a warily spacious take on Arvo Part’s Fur Elina, a secret bonus track. Fans of downtempo and chillout music as well as indie classical types should check this out. Ensemble Et Al are on an intriguing triplebill of percussion ensembles with Concert Black and Iktus Percussion on March 26 at 8 PM at Galapagos, $15 advance tickets are recommended.

March 18, 2013 Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment