Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Lea Bertucci Brings Her Otherworldly Sonic Cocoon to Downtown Brooklyn

Sound artist Lea Bertucci‘s magically enveloping ep Resonant Field materialized here back in May and is streaming at Bandcamp. She’s playing on a great twinbill on Oct 22 at 8:30 PM at Issue Project Room in a duo set with alternately feral and meticulous singer Amirtha Kidambi  opening for improvisational Japanese noise band Asa-Chang & Junray in their US debut. Cover is $15/$12 stud/srs.

The first track on the album is Wind Piece, a desolately drifting tableau with creepy microtones, close-harmonied resonances and stealthy, squiggly accents filtering through the mix. Finally, at the end, Robbie Lee fires off (or more likely, loops) a series of triumphant riffs on baroque flute.

The second track, Warp & Weft comes across as what might happen if the reeds around the low A key on an accordion decided to all meditate themselves into a vast poppy field populated by the occasional slug or wandering bee, eventually taking shelter as a gentle rain moves in. Bassist James Ilgenfritz’s increasingly unhinged, tremoloing, heavily processed lines as the piece winds out raises the adrenaline factor exponentially.

Bertucci layers drones, slowly rising sheets of sound and uneasy, wavering phrases in the even more epic, practically eighteen-minute title track. A multi-layered, ghostly, gently echoing, dynamically shifting, Pink Floydian rainscape ensues.

Bertucci closes the recording with Deliquescence, its flickers and then eerie, concentric upper-register circles over omious brown noise wafting in the background, You are returning to the primordial ooze that spawned you and still loves you after many thousands of years, so dive in.

October 20, 2019 Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Irresistible Avant Garde Punk Cello Fun with Okkyung Lee

Over the past year, impresarios Blank Forms have been booking some of the most interesting, individualistic improvisationally-inclined performers in town into some serendipitously unlikely spaces. One of the most entertaining ones, a solo performance by cellist Okkyung Lee, took place ast week, late in the series they’d staged at the James Cohan Gallery in Chinatown,  She tends to push the limits of tonality and uses a lot of extended technique, and this brief set – over in twenty-two minutes – was typical.

And especially funny. Setting up in the back of the gallery, she adjusted her chair. It was a heavy chair, and its metal coasters squeaked and shrieked on the stone floor. Was she going to make that part of her performance? Most definitely – but for just a playful twenty seconds or so, midway through.

She began with a furtive, muted, rustling exchange, a conversation that grew more animated and agitated and then gave way to calm, spacious, flitting motives. The only discernible melody was when she played subtly baroque-tinged if defiantly microtonal variations on a series of fifth intervals on open strings. Otherwise, the show was more about timbre and attack and rhythm – and playful narrative – rather than pitch.

She ended it with a very amusing, extended series of call-and-response riffs, pushing her cello on its stand directly into the crowd. By now, the gallery’s rear room was full, and everybody in the middle of the floor was sitting. Was she going to move around anyone? No way. She took her time, firing off bursts and snippets of sound in various audience members’ faces; a few people found this irresistibly funny, but if anyone else was in on the joke, they didn’t give anything away..

Lee didn’t stop going when she’d made her way all the way through the audience, continuing to the front door, then retracing her steps, walking backwards. She didn’t look over her shoulder once, completely deadpan, Moses in reverse as the crowd on the floor parted once more. And then she was done.

Blank Forms’ next concert, on Nov 23 at 7 PM features trumpeter Nate Wooley and ensemble playing his new suite Seven Storey Mountain at St Peter’s Church, 346 W 20th St.; cover is $10

October 16, 2019 Posted by | avant garde music, concert, experimental music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Magically Haunting Creative Jazz on the Lower East Side

Over the past couple of months, there’s been an intriguing series of concerts, simply called Art in Gardens., featuring some of New York’s best creative jazz artists rotating through three community gardens on the Lower East Side. Saturday afternoon’s concluding concert at the Children’s Magical Garden, a leafy little Stanton Street oasis, was rapturously fun. Although guitarist Ava Mendoza seemed to be the ringleader, this was definitely a democratic performance, bassist Shayna Dulberger, tenor saxophonist James Brandon Lewis and Daniel Carter, who began the set on trumpet but then switched to tenor as well, exchanged ideas and musical banter and frequently sizzling riffage with a remarkably singleminded commitment to keeping a garden full of jazz fans entertained.

Free jazz gets a bad rap for being self-indulgent because it so often is: this was anything but. How did this crew keep it so focused? By sticking close to a central note, maintaining a lot of resonant, sustained lines rather than disembodied, herky-jerky notes, and keeping solos terse and thoughtful.

When she wasn’t punching out catchy, looping basslines, including one deviously extended interlude that finally veered away from 7/8 time, Dulberger used her bow for pitchblende washes that drew the music into deep, dark terrain. And the one time she hit a bubbly phrase and the rest of the crew resisted, she backed away, letting the music find its own natural flow.

Carter alternated between airy, sustained notes, methodical rises and falls and one particularly sage, saturnine, deep blues interlude where the band pulled back to let that majesty stand out. Lewis played what might have been the afternoon’s most gorgeous solo – such that there there were any solos at all – with a biting, Middle Eastern-tinged poignancy. Alternating between trebly distortion and lingering, sunbaked, bluesy minimalism, Mendoza managed to make her menacing chromatics and macabre tritones work seamlessly within this unsettled but less overtly dark context.

Finally, she cut loose with a nonchalantly savage series of tremolo-picked upper-register chords, then looped them with a pedal and added even more ominous low harmonies. That was the signal to the rest of the band to cut loose, but even there, the steady lattice of notes between the saxes along with Dulberger’s snaky, circular phrasing didn’t go completely nuts: this storm was headed in a very specific direction, straight to the endorphin center of the brain.

The Art in Gardens series may be over, but the organizers are still booking shows all over town, including an excellent “un-Columbus Day” three-day festival opening on Oct 11 at El Taller Latinoamericano at 215 E 99th St.

October 7, 2019 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

String Jazz Magic at This Year’s Art in Gardens Series

This year’s free outdoor summer concert series are pretty much over at this point, but there’s another going on in three Lower East Side community gardens through the first weekend of October. The organizers call it Art in Gardens. What’s most exciting is that it’s dedicated to jazz improvisation: right now, it’s the only series of its kind anywhere in town. As you’ll see from the schedule, the lineup is a mix of veterans – some of them admittedly on the self-indulgent/Vision Fest side – but there’s plenty of new blood, and new reasons to chill with neighborhood greenery.

The centerpiece of Sunday’s lineup in the garden on 6th Street between Avenues A and B was Sarah Bernstein‘s mesmerizing Veer Quartet with violinist Sana Nagano, violist Leonor Falcón and cellist Nick Jozwiak. While Bernstein never allows herself to be fenced in by the western scale, it seemed that about eighty percent of her compositions on this particular bill were in those familiar tones.

The music was so fresh that it seemed largely improvised, although the group were all reading from scores. The first number featured a series of exchanges of short, punchy, leaping phrases between individual voices. As the show went on, there was considerable contrast between restless, slowly shifting sustained notes and what has become Bernstein’s signature catchy, rhythmic riffage. As evening drew closer, the tonalties drifted further outside: the most recognizable microtonal piece also managed to have the catchiest twelve-tone phrases bouncing around over achingly tense, often rapturously suspenseful washes of harmony.

There wasn’t much soloing until Jozwiak cut loose with a sizzling downward cadenza and then a fleeting rise afterward, an unexpected jolt of very high voltage. Toward the end of the set, there was finally a furious thicket of bowing and a slowly ascending firestorm in its wake. Otherwise, elegance and sheer tunefulness were the order of the day. There were many moments where only one or two individual instruments were playing, and when the whole group were engaged, Jozwiak would often be plucking out a bassline while one or more of the violins offered keening, sepulchral harmonics far overhead.

Pretty much everything seemed through-composed: verses and choruses didn’t come around a second time, except in later numbers: much of the material would have made sense as a suite. Bernstein’s next gig with this crew is Sept 15 at 7 PM at Spectrum; cover is $15. The next Art in Gardens show features poetry and dance in addition to music: the lineup starts at 1:30 this Saturday afternoon, Sept 14 with Rob Brown on alto sax and Juan Pablo Carletti on drums. At 3:30 Val Jeanty plays percussion, backing dancer Patricia Nicholson and at 4:30 drummer Michael Wimberly teams up with trumpeter Waldron Ricks and bassist Larry Roland at the Children’s Magical Garden, 129 Stanton St, just east of Essex. Can’t vouch for the insect factor at this spot, but on an overcast day the bugs were out in full effect on 6th St.; you might want to slather on some Deep Woods Off or the equivalent.

September 13, 2019 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Jazz Icons Salute a Fallen Hero at Roulette

Composer and saxophonist Joseph Jarman was one of the most important forces in serious improvised concert music over the past fifty years. A founding member of the Association for the Advancement of Creative Musicians (better known as the AACM) and the Art Ensemble of Chicago, Jarman would go on to a second and similarly acclaimed career teaching and running an aikido martial arts studo in Brooklyn during the latter part of his life. An allstar lineup from both of those careers saluted him with a frequently rapturous, haunting performance Saturday night at Roulette.

His longtime bandmate, drummer Thurman Barker, offered a revealing insight into how Jarman wrote: his long-toned, slowly unfolding compositions wouldn’t have such fiuid beauty if they’d been faster, or caught in a steady rhythm. And Barker was right: Jarman wrote many of the AACM’s best-known tunes. Barker spiced a couple of largescale Jarman numbers with all sorts of rattling flourishes, echoed by many of the other members of the Lifetime Visions Orchestra, playing a small museum’s worth of rattles from Jarman’s personal collection just as he would have done when not playing sax. Or reading his poetry, or acting out some kind of surreal performance art: he was a renaissance guy.

In keeping with the compositions, the band kept their lines precise and bittersweet: some of the highlights were an allusively modal one from acoustic guitarist John Ehlis, a fond fanfare from saxophonist Douglas Ewart, a more emphatic one from saxophonist Jessica Jones and some meticulously misty atmospherics from drummer Rob Garcia.

A trio which included Ewart and pianist Bernadette Speach offered a smaller-scale take on similarly pensive, heartfelt themes. Saxophonist Oliver Lake and drummer Pheeroan akLaff picked up the pace with some welcome rolling thunder, while trumpet icon Wadada Leo Smith led a trio through more spare, otherworldly territory. Roscoe Mitchell was ailing and couldn’t make it to the show, so a quartet of saxophonist Henry Threadgill, drummer Reggie Nicholson, organist Amina Claudine Myers and guitarist Brandon Ross closed the night with an achingly gorgeous series of waves. Threadgill slashed and jabbed while Myers built calm, sometimes gospel-inflected swaths; Ross’ angst-fueled, David Gilmour-esque leads were arguably the nigth’s most beautiful moments out of many.

Roulette has all sorts of similarly good jazz coming up next month, beginning on June 4 at 8 PM with bassist Nick Dunston premiering his new suite La Operación for soprano voice, two alto saxes, two basses and two percussionists. cover is $18 in advance. It’s also worth giving a shout-out to the venue for not being cashless – remember, #cashless=apartheid – you can get an advance ticket at the box office for cash on show nights.

May 29, 2019 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Psychedelic Middle Eastern-Flavored Improvisation and a Brooklyn Show by Nadah El Shazly

Multi-instrumentalist singer Nadah El Shazly isn’t the only musician to explore the connection between highly improvisational, classic Egyptian music and American free jazz, but she’s one of the most purposeful and distinctive. El Shazly’s latest release Carte Blanche – streaming at Bandcamp – is an ep featuring Lebanese improvisational ensemble Karkhana. She’s headlinng an intriguing twinbill on April 24 at around 9 at Brooklyn Music School at 126 St Felix St, up the block and around the corner from BAM. Stefan Tcherepnin and Taketo Shimada’s dirgey duo project Afuma open the night at 8. Cover is $20; be aware that if you’re coming from outside the neighborhood, the closest train, the G, is not running, but the Atlantic Ave. station is just around the corner.

The album opens with the allusively creepy Prends-moi un Photo Pendant Que Je Pleure (French for “Take a Picture of Me While I’m Crying”), a blend of loopy, high, bubbling textures with gamelanesque ripples and pings. In between, El Shazly’s otherworldly, tectonic vocalese and stark, surreal oud spike the midrange. The second track – whose title translates roughly as “Lift the Sidewalk, I Can’t Figure Out Where to Go From Here” – begins with a gentle, deft series of exchanges – more of that gamelesque twinkle, plus elegant guitar clang, buzzy synth, and a backward masking effect. From there, it grows more emphatically percussive and surreal. Imagine Carol Lipnik, tied and muzzled, in a Cairo funhouse mirror.

The English translation of the title of the final cut is In My Mouth, Another Mouth, an electroacoustic trip-hop number with disembodied vocals and pulsing, insectile layers arranged around a simple, echoey sample. While there’s nothing distinctly Middle Eastern about the melody, such that there is one, remember that trip-hop is a rai beat that originated in Tunisia. El Shazly, an erudite oudist with a passion for early 20th century Egyptian improvisation, would probably want something like that to be acknowledged.

April 22, 2019 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Uneasy Atmospheres and a Park Slope Gig by Trumpeter Nate Wooley

Trumpeter Nate Wooley has been on the front lines of the New York avant garde for almost twenty years. His latest album Columbia Icefield – streaming at Bandcamp – includes three tracks, two of them about twenty minutes long, a mix of the hypnoic and confrontational, the subdued and the dynamic. His next gig is an enticingly intimate one, at the Old Stone House in Park Slope tomorrow night, April 18 at 8 PM. Cover is $10

The album’s first number, Lionel Trilling begins with an overlapping series of contrastingly calm and agitated loops, spiced here and there with uneasy close harmonies. Ripsnorting textures intrude and then recede; finally a series of recognizable, spare, resonant, Wadada Leo Smith-like trumpet variations move to the center of the sonic picture. Mary Halvorson’s coldly clanging, loopy guitar, Susan Alcorn’s minutely textured pedal steel and Ryan Sawyer’s drum riffs linger and echo in the distance. From there it’s back to loops and then more rhythmic variations: just when the music seems about to drift off into the ether, something unexpected happens.

Seven in the Woods coalesces quickly into a moody dirge, desolate trumpet over lingering guitar jangle. Once the stringed instruments fade out, it grows more rhythmic and warmer, the second part with a lustrous, ambered brass interlude. Spacy bubbles from the guitar push it away; a momentary return once again is interrupted, this time by wailing, randomly shreddy fretwork as the drums tumble. The band bring it elegaically full circle at the end.

With Condolences is the album’s most spare, spacious, Wadada Leo Smith-inflected number, individual voices loosening and diverging, up to a moodily atmospheric series of tectonic shifts as the bandleader intones a nebulously regretful vocal interlude. The return to lustre and then a sense of mourning is unselfconsciously poignant: we’re in deep trouble when all the polar ice is gone. Wadada Leo Smith fans will love this record.

April 17, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Murky Noir Classics and Devious Jousting from Baritone Sax Titan Josh Sinton

Gritty lows, epic solos, smoky riffage, paint-peeling extended-technique freakout: baritone saxophonist Josh Sinton does it all. He’s played on some of the most memorable big band gigs in New York in recent years, but he’s also a mainstay in the far reaches of improvisational music. That’s why his latest project, Phantasos – a Morphine cover band – might be a surprise, considering how straightforward it is. But for anyone who misses that iconic noir trio, Sinton channels Dana Colley’s blend of murk and lyricism while a rotating rhythm section adds a little extra slink. Nobody in the band is using a two-string bass, as Mark Sandman did, but the group’s debut at Barbes a week ago is the next best thing. Phantasos are back at Barbes every Saturday evening at 6 PM this month, tonight included.

Sinton’s latest album with his Predicate Trio – cellist Chris Hoffman and drummer Tom Rainey – is completely different, and streaming at Bandcamp. So much jazz improvisation is awkward and spastic: this is all about conversations, and good jokes, and spontaneous entertainment. Sinton opens it with a sepulchral solo miniature, the ghosts of baritone saxophonists past wafting and keening up through the valves.

Tellingly, there’s more than a hint of Morphine in the epic second number, Sinton pulling away from the catchy theme, up to a burning cello-and-bass interlude with Hoffman’s chords pulsing over Rainey’s colorful, textured syncopation. The sly humor and subtle drift back toward the theme in the jam at the end are characteristically erudite.

The staccato, rhythmic triangulation in Taiga is much the same, after the wry cat-on-the-steppes-in-midwinter interlude that opens it. A Dance is elegant and rather somber, from Hoffman’s long, terse solo intro, through hypnotically catchy, circling riffs, a divergent interlude contrasting Sinton’s carefree accents against Rainey’s majestic tom-tom resonance and an unexpectedly calm resolution.

After an amusing, improvisational rondo of sorts, the group stray even further outside in Unreliable Mirrors, with its rustles and flutters and a coy quasi-march, Rainey coloring the exchange with every timbre he can coax from the depths of his kit, finally rising to a chuffing crescendo.

Sinton and Hoffman growl in tandem as the aptly titled Propulsive steams aong,; then the volcano boils over with a memorable squall. Hoffman hints at a stroll in the improvisation after that, shadowed by fleeting sax and drums. Sinton brings the album full circle with a sly squawk.

February 9, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Dynamic, Kaleidoscopic Massed Improvisational Sprawl from Ingrid Laubrock

As a saxophonist, Ingrid Laubrock has formidable chops, borderless ambitions and an often devious sense of humor. While she’s been increasingly sought after for prestige big band gigs in the last couple of years, her own compositions up til now have been mostly for small groups, heavy on the improvisation. This blog characterized her 2016 album Ubatuba as “free jazz noir.” Her latest release, Contemporary Chaos Practices – streaming at Bandcamp – is her most ambitious project to date: two lushly invigorating, Braxton-esque pieces for orchestra and soloists. Those looking for bouncy hooks and swing won’t find it here, but as far as grey-sky massed improvisation, vivid unease and wry humor are concerned, this album is hard to beat.

One big innovation here is that Laubrock employs two conductors. Eric Wubbels conducts the score, while the conduction of Taylor Ho Bynum guides the improvisational aspects of the performance. A big whoosh from the 42-piece orchestra kicks off guitarist Mary Halvorson’s insistent pointillisms as the first segment of the epic four-part title piece gets underway, quickly echoed by the full ensemble: the hammering effect is very Louis Andriessen. Echoey, after-the-battle desolation alternates with massive upward swells; hushed flickers interchange with assertive, massed staccato. From there, a big, portentous heroic theme gets devoured by a flitting swarm of instruments: the effect as funny as it is disconcerting.

The first two movements segue into each other; the third begins with Messiaenic birdsong-like figures, then Jacob Garchik’s trombone kicks off a deliciously off-center, frantic chase scene from the whole ensemble. Led by dissociative figures from the strings, the calm afterward foreshadows the eerie resonance of the coda, awash in enigmatic low brass while Kris Davis’ electric piano flickers and flutters like the celeste in a Bernard Herrmann horror film score.

The album’s second piece, Vogelfrei, begins lush and still, Davis’ muted, ghostly piano signaling a droll exchange between strings and low brass. The intricacy of the interplay, right down to the tongue-in-cheek whistling of the strings amid a slowly emerging, lustrous melody, may be more thoroughly composed than it seems. Comedic moments – Halvorson’s guitar detective hitting a brick wall and then collapsing, and a yes-we-can/no-you-can’t smackdown – liven an otherwise persistent disquiet. A sepulchral choir of voices enters as the instruments build to a crowded skatepark tableau, which disappears only to pop up again.

Davis’ brooding neoromantic figures echo over a distant whirl and bustle, followed by a couple of slow but vigorous upward crescendos. Moments of bittersweet melody fall away one after the other, fading down and out with a long shiver from the strings a la Julia Wolfe.

Laubrock’s New York home these days is the Jazz Gallery, although she also likes to explore the fringes, both literally and figuratively. Her next gig is on Jan 31 at Holo in Ridgewood with a like-minded cast of improvisers: guitarist Ava Mendoza, microtonal violinist Sarah Bernstein, bassists Adam Lane and Brandon Lopez, and drummer Vijay Anderson. It’s not clear who’s playing when or with whom, but the lineup is worth coming out for whatever the case might be. Showtime is 7 PM; cover is $15.

January 28, 2019 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Cartoons and Monsters From Satoko Fujii’s Thermos

File this under be careful what you wish for: a dozen albums, one every month, from perennially intense, captivating pianist Satoko Fujii? To celebrate her sixtieth birthday, she’s done exactly that. Much as the nuts and bolts of officially putting out each record must have been tiresome, the music has been characteristically fresh and outside-the-box. And the project has been a lot easier for her than it would be for most artists. Like most jazz musicians these days, she pretty much lives on the road, and at this point in her career everybody from Wadada Leo Smith on down wants to work with her, so she has pretty much unlimited access to global talent. And she’s figured out that the way to make albums in this era is simply to record her shows and release the best ones.

Album number ten in her twelve-album cycle is the debut of a group she calls Mahobin. In Japanese, it means “thermos,’ but the literal meaning is “magic bottle.” To what extent did she manage to bottle the magic at this 2018 set in Kobe, Japan with her husband and longtime collaborator, Natsuki Tamura, along with tenor saxophonist Lotte Anker and Ikue Mori on laptop? The results are both hilarious and macabre. This is an amazing record, even if the electronics are too loud.

There’s a set and an encore here – ot so it seems. The humor is relentless at the beginning  of the 42-minute first piece, Rainbow Elephant. Everybody is in on it; Star Trek command center bubbles and blips, black noise like at the end of A Day in the Life, a fishtank on steroids, cuisinarted minor-key piano blues riffage, mulish snorts, a ridiculously funny trumpet fanfare and cartoon mice on a treadmill inside the piano tinkling away are just a few things the music might remind you of.

Then Fujii suddenly flips the script with a stern, syncopated low lefthand pedal note and works uneasy Messiaenic permutations, moving slowly upward as Mori oscillates wildly. Anker’s role here is mostly quavery, uneasy sustained lines; Tamura sticks mostly to more sepulchral extended technique, although when he goes in with his chromatics, he goes for the jugular.

Meanwhile, it seems like Mori is sampling her bandmates and then spinning everybody back on themselves, sometimes using a backward making pedal for extra surrealism. Fujii’s ability to make up a theme on the spot and embellish it later on is unsurpassed in all of music, and the enigmatic way she ends this very long, very strange trip goes against all conventional thinking in order to drive it home, dark and hard.

The relatively short encore, Yellow Sky is seven minutes ten seconds of Frankenstein building a fire – that’s Fujii – with the rest of the band as seagulls circling overhead. Creative music in 2018 doesn’t get any better, or more captivatingly weird, than this. Fujii and Mahobin are at the Stone – which is now located at the first-floor Glass Box Theatre at the New School at 55 W 13th St. – at 8:30 PM on Dec 13. Cover is $20; get there early, because Fujii’s New York shows have been selling out regularly.

The best overview of Fujii’s yearlong project is not at this blog, sadly. The New York City Jazz Record put her on the cover of their September issue and included an exhaustive and enthusiastic review of her 2018 output. But not to worry: there will be much more Fujii on this page in the weeks and months ahead.

December 11, 2018 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | Leave a comment