Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Ghost Train Orchestra Steam Back to Upbeat, Playful Terrain

Back in January, this blog asserted that “It’s impossible to think of a better way to start the year than watching Brian Carpenter’s Ghost Train Orchestra slink and swing their way through the darkly surreal album release show for their new one, Book of Rhapsodies Vol. 2 at Jazz at Lincoln Center.” The album is actually far more lighthearted and frequently cartoonish, with ambitious charts that strongly evoke 50s lounge jazz oddball innovator Juan Garcia Esquivel. Once again, the ensemble have created a setlist of strangely compelling obscurities from the 30s and 40s.

In an era when nobody buys albums anymore, the Ghost Train Orchestra have sold an amazing number of them, topping the jazz charts as a hot 20s revival act. Yet for the last five years or so, frontman/trumpeter Carpenter has been revisiting his noir roots from back in the 90s, with lavishly rewarding results. This release – streaming at Bandcamp – is characteristically cinematic, but seldom very dark. It opens with cartoon music maven Raymond Scott’s Confusion Among a Fleet of Taxi Cabs. a romp with horn and siren effects that comes together with a jubilantly brassy, New Orleans-tinged pulse, bringing to mind the Microscopic Septet at their most boisterous.

Likewise, Mazz Swift’s violin and Dennis Lichtman’s clarinet spiral and burst over the scampering pulse of bassist Michael Bates and drummer Rob Garcia in Hal Herzon’s Hare and Hounds – meanwhile, some goof in the band is boinging away on a jawharp. Reginald Forsythe’s Deep Forest, which Carpenter wryly introduces as “A hymn to darkness, part one,” is closer to Esquivel taking a stab at covering Black and Tan Fantasy, guitarist Avi Bortnick adding spikily ominous contrast beneath the band’s the ragtimey stroll.

The strutting miniature Pedigree on a Pomander Walk, the second Herzon tune, is just plain silly. Carpenter’s tongue-in-cheek muted lines mingle with Ben Kono’s tenor sax and the rest of the horns in Alec Wilder’s Walking Home in Spring, Ron Caswell’s tuba bubbling underneath. The latin-tinged Deserted Ballroom, a final Herzon number, has a balmy bounce over a creepy chromatic vamp, a choir of voices supplying campy vocalese over lush strings and a Chicago blues solo from Bortnick. A neat trick ending takes it into far darker, Beninghove’s Hangmen-ish territory.

The disquiet is more distant but ever-present in A Little Girl Grows Up, a Wilder tune, despite the childlike vocals and coyly buoyant, dixieland-flavored horns. The band make Esquivellian Romany swing out of Chopin with Fantasy Impromptu: Swift’s classical cadenza toward the end is devilishly fun. They follow that with another Wilder number, Kindergarten Flower Pageant, which would be tongue-in-cheek fun save for that annoying kiddie chorus. Sometimes children really should be seen and not heard.

A playful minor-key cha-cha, Lament for Congo – another Forsythe tune – has bristling guitar, lush strings, faux-shamanic drums, Tarzan vocals and a lively dixieland interlude. The strings in Wilder’s The House Detective Registers look back to Django Reinhardt as much as the winds take the music back a decade further. The final tune, by Forsythe, is Garden of Weed, which doesn’t seem to be about what you probably think it is. It’s a somber, early Ellingtonian-flavored ragtime stroll, Garcia’s hardware enhancing the primitive, lo-fi ambience, up to a livelier exchange of voices.

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October 7, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Mirian Conti Goes On a Mission Which Was Impossible Until Recently

This past evening in the comfortable, old-world auditorium at the Consulate of Argentina in midtown, Mirian Conti played the first ever North American concert devoted exclusively to the solo piano music of Lalo Schifrin. It could have been a world premiere, although the now 85-year-old Argentine composer has undoubtedly played at least a few solo shows of his own somewhere in the world. Either way, Conti made history with this revelatory performance, especially considering that she was responsible for getting Schifrin to write most of the music.

While Schifrin is no stranger to fans of film scores, he isn’t known as a composer of solo piano works. Long story short: Conti suggested he come up with enough new material or new arrangements for a solo show, and he did. And her dynamic, kinetic, mutable approach to the music did justice to the composer’s ruggedly individualistic blend of neoromanticism, jazz, nuevo tango and vast cinematic themes.

“Other than Beethoven’s Fifth Symphony, this is it,” Conti grinned, closing the bill with the world premiere of Schifrin’s solo piano arrangement of the Mission Impossible theme. Tens of thousands of bands and orchestras have played that tune, and kids have been playing probably more than one simplified piano arrangement since 1973. Perhaps ironically, Conti’s boisterous, irrepressibly hard-hitting version was the key to the entire concert. Consider: the theme opens with a hammering, syncopated blues riff, but expands to lots of unexpected chromatics, a mashup of blues, jazz, tango and hints of Debussy.

So it was no surprise that the rest of the show mirrored those influences in the prolific composer’’s work. Although a formidable lefthand attack is hardly the exclusive domain of Argentine pianists, it’s a distinctive  trope, and Conti did it justice, opening with the wryly titled Tango Del Atardecer, Schifrin new solo arrangement of the main theme form the 1977 movie Tango.

Conti made the tricky idiomatic shifts between nuevo tango, pre-tango Argentine folk and quasi-Second Viennese School tonalities in Danza De Los  Montes look easy. She told the crowd that for a classically-trained musician, the tricky rhythms, syncopation and allusive harmonies of Schifrin’s Jazz Sonata are a real challenge, but she delivered all of that in a strongly dynamic take of its second movement.

She explained that Schifrin had written Tango A Borges as a salute to the writer and his fondness for the tango guardia vieja – surprisingly, he didn’t like nuevo tango. So she made every intense, regal cascade count, up to a wry surprise ending. Her take of Schifrin’s new Suite and Ten Variations was a cleverly referential if hardly reverential capsule history of classical piano from the baroque,through Beethoven to Bartok and then maybe Piazzolla. Conti encored with a brand-new, lushly baroque-tinged lullaby: clearly, Schifrin has plenty of tunes left him him.

November 30, 2017 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | Leave a comment