Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

40% of the 25th Anniversary Bang on a Can Marathon

2012 being the 25th anniversary of the Bang on a Can avant garde music marathon, it makes sense that this year’s marathon yesterday at the World Financial Center would be a more oldschool one than in years past, with more emphasis on familiar faces and American composers than the wide-ranging internationalist vibe of recent years. Judging from the first forty percent of the show, not to mention the tantalizing bill that loomed ahead for the evening, this year’s was one of the best in recent memory. Unlike the last few years, where BOAC would cleverly seem to work the occasional obvious bathroom break or even a dinner break into the programming, from noon to about half past five there wasn’t a single tune-out: not everything on the bill was transcendent, but a lot was.

Lois V Vierk was one of the composers on the program along with Pauline Oliveros, Steve Reich and Martin Bresnick at the first marathon in 1988; this time out she was represented by her galloping, hypnotically enveloping, Reich-esque Go Guitars, performed by the Dither guitar quartet – Taylor Levine, James Linaburg, Josh Lopes and James Moore. Cellist Ashley Bathgate followed, solo, with Daniel Wohl’s insistently minimalist, echoing, rhythmic Saint Arc, a good segue with its bracing atmospherics. The crowd’s focus shifted to the rear of the atrium for trombone quartet Guidonian Hand playing Jeremy Howard Beck’s Awakening, a pro gay marriage polemic inspired by the chants of protestors as well as Jewish shofar calls. Vividly evocative of uneasy crowd noise, a sense of reason developed, and then a triumphantly sostenuto fanfare with wry echoes of Also Sprach Zarathustra.

BOAC All-Star Vicky Chow played Evan Ziporyn’s In Bounds. Inspired by essay about basketball, Ziporyn explained that he had mixed feelings about asking Chow to tackle such a demanding task as essentially becoming a one-woman piano gamelan with this work – but she was up for it. It’s classic Ziporyn, catchy blues allusions within a rapidfire, characteristically Javanese-influenced framework. Moving from attractive concentric ripples to some tongue-in-cheek Tubular Bells quotes to a welcome spaciousness as the piece wound down, Chow’s perfectly precise, rapidfire music-box attack raised the bar for pretty much everyone who followed.

The NYU Contemporary Music Ensemble conducted by Jonathan Haas negotiated their way through Ruben Naeff’s Bash, its point being an attempt at making a party out of group tensions. Its interlocking intricacies were a workout especially for vibraphonist Matthew Lau, but he didn’t waver, alongside Patti Kilroy on violin, Maya Bennardo on viola, Luis Mercado on cello, Florent Ghys on bass, Charles Furlong on clarinet, Anne Dearth on flute and Jeff Lankov on piano. Steadily and tensely, they illustrated an uneasily bustling party scene that eventually reached for a slightly more lush, relaxed ambience without losing its incessant rhythmic intensity.

Bass clarinetist Michael Lowenstern was then joined by extrovert violin virtuoso Todd Reynolds for an unexpectedly catchy new wave pop melody and then Footprints (not the Wayne Shorter composition), a genially bluesy, upbeat number where the BOAC All-Stars’ Dave Cossin joined them on drums. They’d busked with this one during a European tour and made enough for dinner from it one night in Vienna about twenty years ago. Then Guidonian Hand took the stage for Eve Beglarian’s In and Out of the Game, inspired by her epic Mississippi River trip a couple of years ago: an anthemic, upbeat piece, it was delivered rather uptightly, perhaps since the ensemble was constrained by having to play along with a tape.

Julia Wolfe’s My Lips From Speaking isn’t one of her white-knuckle intense, haunting numbers: it’s a fun extrapolation of the opening riff from Aretha Franklin’s Think (played by Aretha herself on the record). Piano sextet Grand Band – Chow, David Friend, Paul Kerekes, Lisa Moore, Blair McMillen and Isabelle O’Connell had a ball with it, each wearing an ear monitor so as to catch the innumerable, suspenseful series of cues as the gospel licks grew from spacious and minimalist to a joyously hammering choir. Ruby Fulton’s The End, sung by Mellissa Hughes with Dither’s Taylor Levine on uke and M Shanghai String Band’s Philippa Thompson on spoons, made a good segue. Inspired by the Beatles’ The End – as Fulton explained, one of the few places on record where Ringo ever took a bonafide drum solo – its hypnotic, insistent rhythm and Hughes’ otherworldly harmonies in tandem with the drones and then overtones rising from Levine’s repetitive chords built an increasingly complex sense of implied melody, as captivating as it was clever.

The first piece delivered by the BOAC All-Stars – Chow, Bathgate and Cossin on vibraphone and percussion this time plus Robert Black on bass, Mark Stewart on guitars and Ziporyn on clarinets – was Nibiru, by Marcin Stanczyk, one of the composers who’s come up through BOAC’s MassMoCa mentoring program. An apprehensive blend of anxious, intense percussion and ominous outer-space motifs, it pondered the existence of the phantom planet from harmonic-laden drones to surfy staccato guitar to where Bathgate finally took it to the rafters, her cello’s high harmonics keening eerily over Ziporyn’s bass clarinet wash.

The biggest audience hit of the afternoon – big surprise – was Thurston Moore’s Stroking Piece #1. It took a long time to for the All-Stars to build from faux Glenn Branca to critical mass but when they finally got the chance, a minor chord abruptly and rather chillingly making an appearance, Cossin slamming out a four-on-the-floor beat, the band had a great time with it even if it wasn’t particularly challenging. As it wound out, Stewart artfully led them from a crazed noise jam back into quiet, mantra-like atmospherics.

That may have been the peoples’ choice, but the next piece, Gregg August’s A Humble Tribute to Guaguanco, performed by his bass quartet Heavy Hands with Greg Chudzik, Lisa Dowling and Brian Ellingsen, was the most memorable of the afternoon. “Taking advantage of the percussion and the vocal quality that we can get from the bass,” as the bandleader (and four-string guy from sax powerhouse JD Allen’s amazing trio) explained, they made it unexpectedly somber and terse, alternately bowing, picking and tapping out an interlocking beat, eventually adding both microtones and polyrhythms. A dancing pulse gave way to sharp, bowed chromatic riffs, part flamenco, part Julia Wolfe horror tonalities. The second they finished, a little sparrow landed in front of the stage as if to signal its approval.

The following work, Besnick’s Prayers Remain Forever was performed by by TwoSense (Bathgate and Moore). Introducing the composer, Julia Wolfe reminded that he taught all three of the BOAC founders, and that his Yale School of Music ensemble Sheep’s Clothing was the prototype for BOAC. “At a certain point in life existential questions become extremely important,” he explained – the title of the work is from the last line of the Yehuda Amichai poem Gods Come and Go. A plaintively elegaic, part mininalist, part neoromantic work, as it expanded from a simple chromatic motif, a sense of longing became anguish and then descended to a brooding, defeated atmosphere, the cello and piano switching roles back and forth from murky hypnotics to bitterly rising phrases, with a particularly haunting solo passage from Bathgate. Yet what was even more impressive about her playing is how closely she communicates with her bandmates, Moore especially: the duo played as a singleminded voice.

Then things got loud and memorably ugly with “punk classical” ensemble Newspeak, whose late-2010 album Sweet Light Crude is a gem. They played that tune, a savagely sarcastic love song to an addiction that will eventually prove lethal, Hughes’ deadpan, lushly Romantic vocals soaring over cinematics that built from anxiously sweeping to metal grand guignol fueled by Brian Snow’s cello, Levine’s guitar and bandleader/composer David T. Little’s coldly stomping drums. They also rampaged through Oscar Bettison’s B & E (with Aggravated Assault), emphasizing its jagged math-rock rhythms and a pummeling series of chase scenes.

Michael Gordon, one of the original BOAC trio with Wolfe and David Lang, led his band – the BOAC All-Stars’ Stewart, Cossin and Zioporyn plus Reynolds on violin and Caleb Burhans on viola – through his own Thou Shalt/Thou Shalt Not from behind a keyboard. This was a disappointment and didn’t measure up to Gordon’s usual high standard. Juicy textures – creepy funeral organ, staccato twin microtonal violins, foghorn bass clarinet – overshadowed simplistic percussive riffage, which carried on far too long without much focus: if he could cut this down to 3:05, he’d have a hit. Next on the bill was soprano saxophonist Jonas Braasch, who performed his alternately rapt and amusingly echoey Quasi Infinity through a digital effect he’d created to approximate an amazing 45-second natural reverb that Oliveros had reveled in while recording in a Washington State cistern in 1988. That boded well for Oliveros and her Deep Listening Band, who played digeridoo-heavy, warmly enveloping works immediately afterward. And while it’s hubris to walk out on an artist as perennially fresh and compelling as she is, there’s a point where concerts of this length and the demands of having a life don’t coincide. Apologies to Oliveros and her crew for not sticking around for their entire set.

One final issue that ought to be addressed, and not just by BOAC and the World Financial Center landlords, is that there needs to be a no-under-fours rule here. And for that matter, at every serious music event in New York, maybe everywhere in this country. This didn’t used to be an issue, but with the helicopter parenting fad, children having become yuppie bling, national restaurant chains and thousands of other businesses are retaliating. A reasonably bright four-year-old can be taught to sit quietly or at least move around quietly while a concert is in progress; a two-year old can’t. Too bad that there’s no way to ban the yuppies along with their annoying, sniveling, whiny spawn, which would solve the whole problem.

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June 18, 2012 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Bang on a Can All-Stars Strike Again

Putting a boy from a well-known indie rock band front and center on the Bang on a Can All-Stars’ new album Big Beautiful Dark and Scary is a marketing move gone awry. The audience for this genre-defying indie classical/art-rock band is probably somewhere in the gypsy rock, or Balkan brass, or jazz or maybe even what’s left of the punk rock camp, as the album cover alludes. Like the idiom he comes from, the pieces by the indie guy are carefree and shallow, and the rest of this album is anything but: even the Evan Ziporyn rearrangements of works by weirdo player piano composer Conlon Nancarrow reach toward communicating an agoraphobe’s angst, even if they don’t quite succeed. Indie rock has been suspect from the git-go and hasn’t been relevant for a long, long time: as it stands in 2012, it’s a ghetto for one-percenters and one-percenter wannabes, the kind of posers who are just as annoying an addition to the indie classical scene (e.g. this year’s Ecstatic Music Festival) as they are in the neighborhoods they’ve suburbanized with their simpering gentrifier sensibility.

But that’s the bad news. The album’s title track is a classic Julia Wolfe showstopper, a series of ascending progressions that grows from agitated, staccato suspense to terrified and anguished, then somber and quickly up again, Ziporyn’s elegaic clarinet rising over the increasingly swirling, insistent intensity of Ashley Bathgate’s cello and Robert Black’s bass. It’s not quite as shattering as Wolfe’s Cruel Sister suite, released last year, but it’s awfully close: as an evocation of the horrors of 9/11, it ranks as one of the most intense, right up there with Robert Sirota’s equally anguished, morbidly picturesque Triptych.

David Lang’s Sunray maintains a brooding mood, with minimalistic, trickily rhythmic piano-and-bass accents over an austerely staccato circular guitar riff that gradually fills out to a rather martial grandeur that wouldn’t be out of place in Peter Gabriel-era Genesis. Michael Gordon’s For Madeline, with its slowly sirening strings over echoey, horror-film piano-and-guitar ambience, packs a wallop. Ziporyn’s Music from Shadowbang is a three-part suite. Its opening segment sets his own nimbly scurrying clarinet accents over elegantly dancing bass – with its warmly inviting Brazilian inflections, it’s the most overtly jazz-oriented piece here. That’s followed by Ocean, a terse, pensive art-rock anthem without words, pianist Vicky Chow layering creepily precise water-droplet piano over a hypnotic central hook. The concluding segment grows from absolutely creepy to triumphant in the same manner of the Lang work, bringing this triptych full circle.

Louis Andriessen’s Life (with short films by Marijke van Warmerdam on the enhanced cd) is a moody and extraordinarily vivid work, one of his most straightforwardly melodic, and it too packs a punch, from the pensive, opening string-and-piano tone poem, through hypnotic, nocturnally strolling, elegaic ambience and then expectant, suspensefully minimalist cinematics. The album ends with Kate Moore’s Ridgeway, which builds from menacingly minimalism to a swooping, sweeping, Gilmouresque intensity driven by Mark Stewart’s biting slide guitar and Chow’s fiery, percussive piano in tandem with the bass. For those who don’t already have this (it’s already had a monthlong life as a free download for those with the broadband to haul in the whole thing), this double-disc set is worth owning for the Wolfe piece alone, let alone the substantial works  by her old BOAC pals Lang and Gordon and the other first-rate composers here.

February 24, 2012 Posted by | avant garde music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Bang on a Can Marathon 2011: A Marathon Account

Bang on a Can is a good place to go for weird music that doesn’t fit into any category…that falls through the cracks,” explained co-founder/composer David Lang between a couple of acts late Sunday afternoon at the World Financial Center. This year’s annual Bang on a Can Marathon there was typical in that sense. The scope of the music and parade of performers was less global than in recent years, although Italy and Denmark represented themselves strongly. Consequence of the depression? Maybe. But what was most impressive about this year’s marathon was the extremely high ratio of good music versus bullshit, and the enduring strength of the founding composers themselves. Even as the genre-busting music that Bang on a Can has championed since 1987 has achieved broader recognition, the core crew – Lang, Michael Gordon and Julia Wolfe – have never sold out. In fact, two of the trio’s works – Gordon’s Exalted and Wolfe’s Cruel Sister – were arguably the marathon’s biggest hits.

Gordon’s piece, performed by the Young Peoples’ Chorus of New York City with the Jack Quartet, came first. It was the first piece he wrote in the wake of his father’s death, and it was as intense as you can possibly imagine. The choir interpolated the first four words of the Kaddish, in Aramaic, sort of a clinic in minimalism with a max ensemble. A repetitive sliding cello note against a staccato pedal motif from the rest of the quartet was mimicked by the choir, a desperation move that made its way through the voices (if you’re sitting Shiva, everybody eventually shows up whether you like it or not). A wild violin metal solo against hypnotic insistence gave wings to an anguished, hopeful prayer. The crowd, stunned, exploded afterward.

The high point of the marathon was Wolfe’s Cruel Sister (available as a dynamite Cantaloupe recording by Ensemble Resonanz), performed here by the strings of Ensemble Signal conducted by Brad Lubman. It follows the arc of a surreal medieval murder ballad Wolfe discovered via a recording by 70s British folk-rockers Pentangle. A riveting series of suspenseful crescendos and ebbs, the opening tone poem grows frantic and then back down, a brutally tough job of maintaining the rhythm for cellist Kevin McFarland, but his iron right hand wouldn’t let up. Polyrhythms, a ghastly murder scene and a body floating on the water led to a forest of pizzicato, violin coming in plaintively and finally a chilling, possibly karmically fulfilling drone spotlighting the cruel sister who didn’t get to enjoy what her big sister did.

Lang’s contribution was more playful, Philip Glass-style, a subtly shifting mathrock theme for two guitars played with deadpan insouciance by Dither Quartet’s Taylor Levine and James Moore. The fun factor went up another notch later in the night with the Sun Ra Arkestra, 87-year-old bandleader Marshall Allen leading the massive surrealistic swing band through a diverse and tantalizingly short set that moved from hot post-Basie swing to in-your-face hot calypso to a long walk-off where Allen put down the hybrid theremin/melodica he’d been playing in exchange for his alto sax, stunning the crowd with a single mighty wail in front of the stage as the band paraded its way to the middle of the atrium and entertained the crowd there.

Another stunner that deserves special mention was the Prism Saxophone Quartet’s version of Roshanne Etezady’s Keen. A marvelously dark, cinematic horror/suspense film score of sorts, the composer explained that she wrote it on a theme of mourning or grief, “a bereft affect.” Wary explorations against a central tone, an apprehensively tense, Robert Paterson-esque fanfare and relentless unease made it hard to forget.

As much as the marathon is free and easy to get in and out of, there were strikingly few moments where anyone would want to do that, considering the quality of the music. A little before noon, early arrivals got to witness two segments from innovative bagpiper Matthew Welch’s The Self and Other Mirrors, played by the Queens College Percussion Ensemble with Amanda Accardi’s quietly composed intensity on piano and Michael Lipsey on the podium: a stately, pleasant, catchy and smartly textured first movement followed by blithe, hypnotic ripples. Flutist Alejandro Escuer followed, playing Gabriela Ortiz’ Codigos Secretos, not particularly secretive if warmly atmospheric and consonant.

Anthony Gatto’s Portrait of American painter Eva Hesse, done jointly by the Queens Percussion Ensemble in the middle of the space, trading off with the Itkus Ensemble onstage, rumbled eerily close to the World Trade Center site, raising the volume close to painfully loud. Hesse must have been a hell of a presence. The Jack Quartet followed with three US premieres of Richard Ayres’ 3 Small Pieces for String Quartet: small is not the word. They were magnificent. The first featured the cello in percussive, catchy, terse, seemingly Kayhan Kalhor-influenced mode; the second raised the menace, the third shifting to a vigorous dance. The Prism Saxophone Quartet took over the stage after that with Kati Ogocs’ Hymn, warm atmospherics building up with a shriek.

Former Ethel violin powerhouse Todd Reynolds did his hypnotic yet lively Transamerica, a memorably energetic theme whose power was sapped by useless electronics. The Prism Quartet then returned with a tight, energetic, overtone-packed, limit-pushing version of Iannis Xenakis’ Xas – from 1987, the first year of Bang on a Can – a blippy, warped canon juxtaposed with tensely free passages featuring shifting combinations of the ensemble.

Italian group Sentieri Selvaggi got a total of five pieces: a gleeful, circular excerpt from Michael Nyman’s opera Love Always Counts; Michael Daugherty’s coy Sinatra Shag, a ripoff of These Boots Were Made for Walking with some cool oscillating textures toward the end; Filippo Del Corno’s Risvegliatevi (Italian for Wake Up!), replete with Pink Floyd-esque mechanical/industrial sonics (literally Bang on a Can!); Mauro Montalbetti’s Brightness, Emily Dickinson-inspired, hypnotically bubbling color alternating with stillness; and finally their conductor Carlo Boccadoro’s Zingiber (Ginger in Italian), rusticity giving way memorably to an abrasive low-versus-high battle.

Bang on a Can’s latest gimmick, the Asphalt Orchestra marching band, energized the crowd with several numbers: Annie Clark and David Byrne’s Balkan/Afrobeat hybrid Two Ships, a swirling, imaginative arrangement of Bjork’s Hyper Ballad and a thunderous Goran Bregovic dancefloor hit done as a fiery overture, being the best of the bunch.

As the cruel sun moved slowly out of view, Danish composer Poul Ruders’ Song and Rhapsodies were performed by the Athelas Wind Quintet with Frode Andersen on accordion. It’s a tremendously captivating suite: an austere overtone-laden tone poem, a creepy twisted waltz, a baroque rondo, a weird, blithe accordion solo, swelling adventurous cinematic theme a la Gil Evans, ending with a weird, bubbly tone poem.

The big draw of the night – at least from this point of view – was Philip Glass, playing a deliciously precise, impromptu version of his hypnotic, neoromantic Impromptu #4 solo on piano to kick off his mini-set with the Bang on a Can All-Stars. Glass’ potency as a pianist gets overshadowed by the applause for his compositions: there’s no doubt that he can play even his most demanding, persistently rhythmic works easily, as he did in an almost shockingly straight-up rendition of Music in Circular Motion, a relatively early work that typically allows for a certain amount of DIY, at least rhythmically, on the part of the players. Their closing piece featured Glass and pianist Vicky Chow in eerily perfect sync with each other against the band’s dizzying yet perfectly cantabile ambience.

By nine in the evening, for those who had stuck around since the early hours and had been awoken from brain coma by the Sun Ra folks, a payoff was in order, and Evan Ziporyn delivered, playing bass clarinet alongside Michael Lowenstern, with Joshua Rubin and Carol McGonnell on clarinets, through his richly vivid, cleverly entertaining Hive. McGonnell got all the queen bee licks and made the most of them, whether sizzling glissandos or mournful lead lines. Fluttering, creating a droll stereo effect and moving through utterly psychedelic passages where it was impossible to figure out who was playing what, it was the perfect mind melt for the moment.

There were other performances not worth mentioning – bullshit factor being as low as it was, there were a few moments when a trip to the spicy Pakistani steam-table place on Church St. made more sense than watching what was onstage. A Yoko Ono piece opened; Glenn Branca headlined. Idolized by many, known by everyone who was around for the first Bangs on the Can, it made sense that he’d top this oldschool bill. But the prospect of bad trains (more on that later – getting to the Gowanus Saturday night was sheer hell) was enough to make the choice of an early exit outweight anything blasting from the Marshall stacks onstage. Does taking the field midway through the first inning and sticking around til the eighteenth quality as a complete game? The Bang on a Can people aren’t counting. It was nice to hear debate emerging in random conversations throughout the space: new jacks grousing about seeing the same old faces; the oldschool contingent bitching about the trendy shallowness of the newbies’ electroacoustic stuff. Whatever your preference, a word to the wise: show up early for BOAC 2012.

June 21, 2011 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Bang on a Can Marathon 2010: The Early Hours

This year’s Bang on a Can Marathon aimed to be especially audience-friendly. In the “social media lounge” on the World Financial Center balcony, you could recharge your laptop, play an Evan Ziporyn or Julia Wolfe composition on Rock Band (!?!) and get your hand stamped by the hour. Those with a full twelve hours worth of stamps at the night’s end had earned Marathon Warrior designation, a certificate of merit (suitable for framing!) plus a mention on Bang on a Can’s main site and their twitter page. A little extreme, maybe, but that’s what a marathon’s all about. How does this year’s rank, compared to previous years? From the first four hours’ worth, somewhere around the top. The annual new music showcase runs ’em on and runs ’em off, meaning that if you don’t like the piece or ensemble that’s onstage at the moment, you can always come back in ten minutes and there’ll probably be somebody new up there. This year’s selection of performers and composers was characteristically skewed toward the avant-garde (subcategory: postminimalist) with jazzy edges.

The John Hollenbeck Large Ensemble opened the show auspiciously with the drummer/composer’s Perseverance, the centerpiece of the group’s excellent 2009 album Eternal Interlude. Completed on Election Eve, 2008 and dedicated to Obama, it sends three specific sax voices (played by Ellery Eskelin, Tony Malaby and Jeremy Viner) fluttering and flailing against the big band’s majestic swells and a couple of inspired drum breaks by the composer. Eskelin got the Obama role and hung in there tenaciously for all it was worth.

Innovatively and more than a little deviously, German recorder quartet QNG ran through a New York premiere of Dorothee Hahne’s somewhat understated Dance Macabre and its neat half-time ending, and then Paul Moravec’s Mortal Flesh, shifting from hypnotic horizontality to warped baroque, utilizing at least half a museum’s worth of recorders of various sizes. They brought the big seven-foot model out for the final piece, Moritz Eggert’s LOL funny Flohwalze (that’s German for Chopsticks – the tune, that is), mocking and thrashing its cheesiness to the fullest extent that a recorder quartet can thrash.

The mockery continued with Kyrzyg musicians Kambar Kalendarov and Kutman Sultanbekov playing a simple boing-boing jews harp riff over and over again, completely deadpan until the very end, as if to see if the westerners in the crowd knew they were being had. The crowd’s polite applause seemed to confirm the Kyrzygs’ suspicions. The duo finally played a little country dance on lute and fiddle and that was that.

Florent Ghys effectively took speech patterns and did a one-man band thing, making vaguely baroque-themed loops out of them by playing his upright bass through a series of electronic effects. Eggert then did the same on piano, except that his Hammerklavier III went all-out for laughs and delivered them in droves as he pounded the piano everywhere he could reach, finally kicking up his heel on the low keys and losing his shoe in the process.

The Lucy Moses School’s ensemble Face the Music played Graham Fitkin’s Mesh, which attempts to make a rondo capricioso of sorts out of minimal, circular phrases that eventually move into elevator jazz territory. Following them was a duo playing a Tristan Perich work for tubular bells, electronically processed and amplified to the point that it was like being behind a fleet of garbage trucks with their backup alarms shrieking at full volume: a bathroom break waiting to happen.

Alto saxophonist/composer Steve Coleman, joined by Jonathan Finlayson on trumpet, and David Millares on piano played the captivating suite Formation – Lunar Eclipse, cleverly and often intensely exploring permutations of a hypnotic, circular introductory theme that finally got the chance to cut loose when Millares, whose intensity shadowing Coleman’s sax lines all the way through finally got a chance to break loose and wreak some slightly restrained havoc.

With their marimbas, vibraphones, gongs, water jugs and all sorts of other bangable objects, percussion troupe Slagwerk Den Haag opened their short set with the New York premiere of Seung-Ah Oh’s delightfully playful DaDeRimGill, a dramatic laundry-room scenario that managed to be as purposeful and conversational as it was comedic. Marco Momi’s Ludica (an American premiere) displayed the same kind of conversational tradeoffs and humor.

While one trailerload of instruments was being cleared off the stage for another, the JACK Quartet played Iannis Xenakis’ Tetras on the steps in the back of the atrium, amid the audience, moving from characteristic astringent, percussive phrases to swirling and strikingly melodic ambience. It was the big hit of the day, at least until Evan Ziporyn and his group Gamelan Galak Tika were ready to go. Bang on a Can’s Michael Gordon laughed it up with the composer beforehand since the group follow oldschool gamelan tradition, right down to the matching uniforms and seating arrangements. “I thought it was the Bang on a Can pyjama party,” Ziporyn responded sheepishly. “Xenakis, next to a gamelan, really sums up Bang on a Can,” which pretty much says it all.

And the Ziporyn piece they played, Tire Fire, was as aptly titled as it was transcendent. Ziporyn self-deprecatingly remarked beforehand that the piece really had no real reason to exist. Which maybe it doesn’t – other than to give audiences (and ensemble members) a shot of pure adrenaline exhilaration. It’s a triptych of sorts, each theme introduced by the group’s two electric guitarists. The first movement was the eeriest and the best, the ensemble’s bells ringing out an ocean of overtones against the Telecaster’s ominous shades. The two following movements were more optimistic, the second pulsing along with catchy yet stately electric bass. And with that, after four hours of music, it was time to fly out into the hundred-degree heat. Which combined with the messed-up state of the West Village, the police mystifyingly blocking off access to subways from Christopher to 14th St. despite the presence of a huge crowd who’d come out for the gay parade, made the prospect of a return later in the day a foregone conclusion.

June 28, 2010 Posted by | avant garde music, concert, experimental music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments

CD Review: The Silk Road Ensemble – Off the Map

Their most adventurous album. For ten years, the Silk Road Ensemble has been bringing some of the most fascinating, intense and pioneering Asian and Asian-inflected music to western audiences. On their latest cd, an all-star cast of some of the most imaginative players on the planet – literally – take a flying leap into a rich, cutting-edge program of cross-pollination with equal parts gusto and finesse. For one reason or another, it’s arguably the least Asian of the Silk Road albums, and also the most demanding – while some of the compositions here are among the most accessible the ensemble has recorded, others are far from that – but a close listen pays tremendous rewards.

The cd opens with a three-part suite by the reliably multistylistic Gabriela Lena Frank (who just won a Latin Grammy!), titled Ritmos Anchinos. The opening piece, as Frank puts it, has Chinese pipa virtuoso Wu Man discovering her inner latina. The second is a blissful little dance inspired by a Chinese-African village in Peru; the third hitches a raw, clattering, rhythmically tricky, reverb-driven pipa piece to a second part where the pipa takes on some particularly imaginative jazz guitar voicings.

Hong Kong-born composer Angel Lam’s phantasmagorical, shapeshifting Empty Mountain, Spirit Rain follows, building to a dark, dramatic crescendo following a sparse buildup in the Asian scale, Kojiro Umezaki’s rustic shakuhachi flute bringing back a rain-drenched, ambient feel. The second part is a mysterious narrative of the events of the first part, sweeping along uneasily on the wings of the strings.

Evan Ziporyn’s compositions draw deeply on his gamelan work, and his trio suite here, Sulvasutra is no exception. Based on an ancient treatise on the proper proportions for Hindu altars, there’s a definite symmetry here, circular, echoey and insistent, the extraordinary string quartet Brooklyn Rider interpolating atmospherics within tabla player Sandeep Das’ hypnotic rhythms. The second part sounds like what another adventurous string composer, Ljova Zhurbin, might have done with a gamelan, adding a raw Carpathian edge to the pointillistic ambience; Wu Man reappears deviously in the concluding segment, taking the piece rousingly back to Fiji.

The concluding suite – if you can call it one – is the album’s star attraction, the latest from Osvaldo Golijov, alternatingly rousing, joyous, raptly hypnotic and haunting. On the slinky, seductive first section, the Argentinian avant garde luminary proves himself adept and frankly exhilarating (if not exactly innovative) at lush Mohammed Abdel Wahab-style levantine orchestration. The still, brooding, mystical tone poems that follow fall in stark contrast with the ecstatic, defiant Sardinian protest song that fades up and blasts along like the Pogues, Galician bagpipe star Cristina Pato fueling the blaze. And then it’s over. It’s out now on World Village Music and it makes a particularly suitable holiday gift for the cutting-edge listener on y0ur list.

November 7, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment