Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Smart, Relevant Protest Jazz From Irreversible Entanglements

Protest jazz quintet Irreversible Entanglements came together out of a 2015 Musicians Against Police Brutality response to the killing of Akai Gurley, who was gunned down in a New York housing project stairwell the year before. Their debut album, Who Sent You? is streaming at Bandcamp. It’s smart, conversational, powerful and surprisingly catchy stuff. MC Camae Ayewa (better known as Moor Mother), saxophonist Keir Neuringer, trumpeter Aquiles Navarro, bassist Luke Stewart and drummer Tcheser Holmes have a tight, purposeful rapport that echoes the Art Ensemble of Chicago’s more kinetic improvisations, and Ayewa’s lyrics are spot-on. If music that’s in touch with reality is your thing, this is your jam.

The album’s first track, The Code Noir Amina has a galloping, hypnotic Afrobeat groove with sunny, sustained horn lines shimmering overhead, building to a relentlessly tumbling drive and then receding elegantly. “At what point do we stand up…do we stand up at the breaking point? At the point of no return?” Ayewa asks.

The title track follows a similar pattern, from a big pummeling whirlwind of an intro to a series of rises and falls, the horns first spare and then frenetic. There are light electroacoustic touches, a quiet, persistent, echoey horn break in the middle and an unexpectedly calm, reflective djembe-and-sax outro. “What are you doing here in my home, my neighborhood, who sent you? Where did they tell you to patrol, to oversee, redeem, crucify? Did they tell you to walk around with your finger on the trigger? Who sent you? Did they tell you how long we’re supposed to stay here, under your gun, the occupation, who sent you?” Ayewa wants to know. What an appropriate song for this summer, right?

No Mas opens with the horns building variations on a stark minor-key blues riff, then hits a bass-and-drums groove that’s the closest thing to straight-up hip-hop here. “No longer will we allow them to divide and conquer, divide and oppress, define our humanity,” Ayewa insists.

Blues Ideoogy is the album’s fastest number, starting out with a tight, racewalking pulse and fraying at the edges as it goes along: it’s a snide commentary alluding to child rape in the Catholic church. The album’s final track is Bread Out of Stone, Ayewa reflecting on a turbulent heritage of enslavement and resistance over a loopy bass-and-drums clave groove. If there are historians twenty years from now, they’ll look back to this as a foundational album for the beginning of a new era. But we’ll have to fight to get to that point if we do at all.

July 9, 2020 Posted by | jazz, Music, music, concert, poetry, rap music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

New York’s Hottest New Music Venue: The Cube at Astor Place

As concertgoers are going to find out more and more this year, one of the very few good things to come out of the lockdown is that it provided a very fertile – if completely unwanted – opportunity for artists to create new material.This blog is long overdue to get back to spreading the word about upcoming concerts: one of the first to officially hit the calendar this month is an outdoor show at the cube at Astor Place this Weds, July 8 at 7 PM where Concerts From Cars  have been scheduling a series of improvisational lineups. This one includes but is probably not limited to drummer Dan Kurfirst, multi-reedman/trumpeter Daniel Carter and trumpeter Matt Lavelle. Once again, it bears mentioning that New York’s most forward-thinking improvisers are doing more than improvise with just their instruments. Obviously, we need to reopen all our music venues at full capacity, yesterday, but at least this is a start.

Of all the guys on this particular bill, Carter has appeared on more albums than everybody else combined. And he keeps popping up on new ones. The latest is Welcome Adventure, Volume 1 – streaming at Bandcamp – with pianist Matthew Shipp, bassist William Parker and drummer Gerald Cleaver.

In keeping with these guys’ most expansive, improvisational esthetic, it’s just three tracks ranging from about four and a half to a full twenty minutes. The first is Majestic Travel Agency, which clocks in at thirteen. If you didn’t know all this was completely made up on the spot, you might easily assume it’s just a tight postbop quartet going out on a limb with some inspired interplay and solos. Cleaver’s beat is closer to trip-hop than straight up funk or swing as it unfolds from Parker’s catchy variations playing off a central tone. Shipp jabs at the edges; Carter’s balmy initial tenor sax solo alludes to the Middle East.

From there they swing it in more of a trad postbop mode, loosen and hit a more murky haze even as Cleaver refuses to quit. Shipp’s bad cop versus Carter’s good one is another amusing touch; after the piano cedes centerstage to the bass, they take it out surprisingly calmly.

Carter opens Scintillate with restrained muted trumpet: from a loose-limbed swing, they take it into brooding, vintage Miles Davis-ish jazz waltz territory. The closing epic,  Ear-regularities – probably not a reference to Matt Munisteri’s legendary Ear Inn residency – is where everybody gets to diverge. Parker and Cleaver prowl, Shipp’s incisions and Carter’s airy flute holding the center more or less. Restless, gleaming piano chromatics and saturnine muted trumpet draw the bass and drums into contrasting, funky swing. The unselfconsciously resonant, allusively haunting ambience afterward is completely unexpected and genuinely breathtaking.

Carter, Parker and Shipp go back to the jazz loft days of the 80s, and Cleaver fits right in, so it’s both a trip forward and backward in time.

July 6, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

How Free Jazz Is Saving New York

We are at a very interesting moment in New York music history. Some of the artists who have existed at the furthest fringes of our culture are stepping up to save it.

Is that a great irony, or has that always been the case? Aren’t the greatest innovators in any field, from politics to science, always viewed as heretics?

Sure, there’s been plenty of live music across the five boroughs since the lockdown was first instituted. But most of those shows were intimate house concerts, by invite only, promoted by word of mouth rather than on social media in order to stay under the radar. It’s been heartwarming to witness how many of the prime movers in New York’s improvised music community have recently managed to find a way around the lockdowners’ paranoid regulations to bring back live music for the general public in this city.

Maybe that should come as no surprise. Before the lockdown, very few profit-driven venues in this city would have been willing to book a single creative jazz act, let alone a whole night of free jazz, so creative musicians have always had to improvise (sorry – couldn’t resist that one).

The latest series of shows staged by the innovators behind the Concerts From Cars series are continuing over the next few days at the cube at Astor Place, at 7 PM. Tonight, July 5, drummer Dan Kurfirst jams with with multi-reedman and trumpeter Daniel Carter, Rodney “Godfather Don” Chapman on sax and other artists tba. And then on July 8 at 7 Kurfirst and Carter return to the cube with fearless, politically woke trumpeter Matt Lavelle and supporting cast tba.

Carter has played on a gazillion records over the years: one of the most entrancing and unusual recent ones is the Harbinger album with Jarvis Earnshaw on sitar, vocals and loops and Zach Swanson on bass. It’s a thoughtful, conversational forty-eight minute suite, more or less, recorded and mixed at Martin Bisi’s legendary, sonically rich Gowanus basement space, BC Studio and streaming at Bandcamp.

Foghorn trumpet from Carter anchored by Swanson’s long, low, bowed tones and Earnshaw’s terse, incisive lines echo kaleidescopically through the mix as the three get underway. Earnshaw introduces a lyrical, descending raga riff shadowed by Swanson, Carter switching to balmy tenor sax. Then he moves to flute, Swanson picks up his bow and the theme continues.

They loosen, expand and grow more desolate, Earnshaw’s steely phrases holding the center. Close harmonies between the spacious sitar and echoing trumpet add a bracing edge; Earnshaw also plays chords and unearthly plucked harmonics. Carter looms over a sitar drone, then a broodingly triangulated conversation emerges. A break in the clouds doesn’t last; Earnshaw vocalizes while shifting toward a more rock-oriented, chordal attack.

A lull for solo sitar introduces a warmly hazy nocturnal raga of sorts: it’s here where Carter – back on sax – cuts loose to the extent that he can here. They bring it full circle at the end. There’s as much listening going on as actual playing, resulting in a project that’s as envelopingly enjoyable to hear as it obviously must have been to record.

July 5, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Rapturous, Haunting, Moroccan-Inspired Sounds From Ensemble Fanaa

One of the best albums to come out of New York in the last couple of years is Ensemble Fanaa’s often magical, mysterious debut, streaming at Bandcamp. The trio of alto saxophonist/bass clarinetist Daro Behroozi, bassist/sintir player John Murchison and drummer Dan Kurfirst conjure up a sometimes hypnotic, sometimes stark interweave inspired by Moroccan gnawa music.

The opening track, Creation doesn’t seem to engage with North African traditions, but it’s a fun piece of music. Behroozi opens it, solo on bass clarinet, with a snort of overtones; slowly the trio work their way up from stillness. Kurfirst rattles the cage for contrast. Behroozi and Murchison – on bass – size up the space, peering through the cymbal mist, then they bring it full circle with a cheery, syncopated hook.

Murchison picks up his sintir (the band call it a gimbri; either way, it’s the Moroccan three-string bass lute whose distinctive, lightly boomy sound defines gnawa music) for Traces, Part 1, running a steady, catchy riff while Behroozi’s sax floats spaciously overhead. The trio reprise it later on the record, slowly building to a lithely circling, raptly catchy gnawa theme with Behroozi back on bass clarinet.

The trio keep the gnawa catchiness going, rising with a whisper to the surprise rhythmic shifts of Imram, Behroozi’s trilling microtones building a goosebump-inducing intensity. Murchison introduces the loose-limbed groove of Water Song, Behroozi’s spacious, gorgeously desolate sustained lines and increasingly searing microtonal melismas overhead. It’s the album’s most stunning track.

Kurfirst’s marvelous, misterioso, muted thump and rattle anchors Sujood, Murchison’s bass echoing that, Behroozi pouncing and spiraling with an otherworldly intensity.

From a spare, exploratory bass intro, the trio develop a spacious, brooding lattice spiced with the occasional biting chromatic riff in Now What, the album’s most improvisational number. They close with Yobati – Breath, the album’s most energetic track, shifting from a cheery bounce of an intro to a serpentine, undulating, uneasily keening gnawa theme.

Ensemble Fanaa are still around, individually; all three members maintained busy schedules with other projects in jazz, African and Middle Eastern music until the lockdown. Fortuitously, Kurfirst has a handful of gigs coming up at the cube at Astor Place, staged by Concerts From Cars. Tonight, July 2 at 7 PM he jams with Ras Moche Burnett on sax, then on July 5, also at 7 he’s back with multi-reedman and trumpeter Daniel Carter, Rodney “Godfather Don” Chapman on sax and other artists tba. And then on July 8 at 7 Kurfirst and Carter return to the cube with fearless, politically woke trumpeter Matt Lavelle and supporting cast tba. 

July 2, 2020 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

A Darkly Bristling, Inspired Masterpiece From Gordon Grdina and His Quartet

Gordon Grdina‘s guitar work can be as thorny and dense as his playing on the oud is poignant and haunting. His latest album Coopers Park – streaming at Bandcamp – is as darkly complex and compelling as anything else he’s ever released. This is not an album for those with short attention spans: it’s music to get lost in and return to for new discoveries every time.

Brisk, knottily clustering, close-knit riffage from the bandleader, alto saxophonist Oscar Noriega and pianist Russ Lossing punch in alongside Satoshi Takeishi’s drums as the album’s epic title cut gets underway. An allusive march ensues with echo phrases and divergences, down to whispery deep-space exchanges which grow more chromatically menacing as Grdina pushes further toward the perimeter. Just like Matt Mitchell on Grdina’s Nomad album, Lossing is often in the bad-cop role here. Noriega’s searching, muezzin-like lines over Grdina’s grimly congealing guitar multitracks are spine-tingling. After a long, sad decline, they bring it full circle.

The version of the album’s second track, Benbow, previously released on Nomad, was “Inspired by a California hotel which reminded Grdina of the one in The Shining and gets a spacious but gritty solo guitar intro, a long, tightly clustering crescendo and an evilly glittering Mitchell solo,” as this blog put it back in January. With Noriega’s ghostly bass clarinet over Lossing’s surreal glimmer, this particular take is a completely different animal, much more spare and haunting.

Noriega’s brooding Balkan-tinged flutters open Seeds II over Takeishi’s boomy beat, developing a slow, qawwali-ish groove, guitar and sax an uneasy pair, Lossing’s wry wah-wah Rhodes off to the side. A moody, squirrelly improvised midsection grows more sepulchrally lingering as Lossing switches back to piano. The monster walk out is a tasty payoff: after seventeen minutes, these guys have earned it.

Grdina really takes his time with a sparse, enigmatic solo introduction to Wayward, an improvisation. Lossing joins in with a decisive calm, Noriega and Takeishi quietly phantasmic. Menacing ripples rise from under the lid until everyone takes a turn in jauntier directions. Noriega’s bass clarinet work over a paraphrase of the Seeds II outro, rising from full-toned Middle Eastern ominousness to an explosive coda, could be the high point of the album.

The group wrap it up with Night Sweats, building from funky, circling Balkan-tinged syncopation to an outro that brings the whole album full circle. Grdina works fast; he has yet another album, with his chamber jazz septet, out hot on the heels of this one.

June 13, 2020 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Literally Otherworldly, Entertaining Sounds From Sarah Weaver

OK – you open your new album with an almost nineteen-minute drum solo. Career suicide attempt?

Actually, Gerry Hemingway’s performance of Sarah Weaver’s gamelanesque hailstorm of a composition is vastly more interesting than most drum solos, and in a way it sets the stage for the entertainment to come on her latest, deep-space inspired album Synchrony Series. It hasn’t made it to the usual spots on the web, although there are bits and pieces at Weaver’s youtube channel..

Bombast is happily absent; what we get is a a very subtle upward drive from a steady drizzle on the cymbals and some neat accents on what seem to be extremely detuned tom-toms. People with short attention spans will not be able to handle much of this music, but for those dedicated to what Pauline Oliveros called deep listening, it’s a treat. It’s very psychedelic, by the way.

Long before the lockdown forced musicians to use the web to collaborate, Weaver was patching in people around the world to create ensembles that otherwise never could have existed. There’s some of that here on the record. The second number, Symmetry of Presence features bass trombone legend David Taylor playing a ridiculously funny series of ideas through an increasingly surreal series of Weaver’s effects – although his vaunted extended technique really gets a workout before the electronics kick in. So much of this kind of music is mannered and fearful: this is 180 degrees from that.

An allstar eleven-piece ensemble play the darkly sprawling, practically forty-minute suite Interhere, a soundscape in the AACM tradition. Min Xiao-Fen’s spiky pipa first takes centerstage over Mark Dresser’s keening bass overtones and the massed horns of Taylor, trumpeter James Zollar, soprano saxophonist Jane Ira Bloom, reedman Ned Rothenberg, bassoonist Sara Schoenbeck and oboeist Julie Ferrara. Denman Maroney’s piano introduces icy menace; it’s not clear what or who pansori-influenced singer Yoon Sun Choi is addressing, if at all. More than a hint of franticness; squirrelly dissociation; Tower of Babel chatter from all points; quasi-baroque lockstep; ominous swells on the low end; cold spring desolation fried into 5G microwave shriek: does this feel vaguely familiar?

The album’s disorienting fourth number is just the composer on vocals and Joe McPhee’s trumpet, running through a maze of effects, challenging both themselves and the listener to find a calm center. The final, practically hourlong epic was recorded by most of the large ensemble here, bolstered by an online cast utilizing samples from the Kepler space telescope.

These melodies, created by the orbits of stars and planets millions of miles away, have a stately, gamelanesque quality that validates Johannes Kepler’s theories about celestial harmonies, but almost droll oscillations as well. Is humor implicit in the physics of planetary and solar mass? It would seem so. The musicians respond to those motives with a playful aplomb, bringing to mind Gil Evans as his most celestial as well as Anthony Braxton in galactically tectonic mode – as well as the most primitive video games.

The long liftoff sequence midway through is a lot of fun; the outer-space drift elsewhere is just as entertaining, while the increasingly pensive exchange afterward is a sobering reflection on our ultimate place amidst the dust of stars. This magnum opus has a lot to get lost in.

June 5, 2020 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Playful, Entertaining, Expertly Choreographed Change of Pace for the Satoko Fujii Orchestra New York

This is not to suggest that there could possibly be any upside to the coronavirus crisis for anyone other than a criminal – but at least it’s been a chance to catch up on what one of this era’s most distinctively prolific composers and pianists, Satoko Fujii, has been up to lately. She records pretty much everywhere she plays: the ratio of greatness to mere goodness in her work is superhuman. Her latest album – at least last time anybody here checked – is Entity, with her Orchestra New York, whose 2017 Fukushima Suite ranks with any other big band jazz album released this century.

In general, this one is either more sardonically funny or soberly shamanistic, without the outright rage and terror invoked by that landmark work. As usual, it’s packed with tightly choreographed moments for collective improvisation: it careens and sways, but it doesn’t swing in the usual sense of the word. These are long songs, going on for ten or fifteen minutes at a clip.

The album opens with the title track, a diptych, kickking off with hints of a shamanic beat, squiggly guitar effects, and finally a massed, microtonal march that drummer Ches Smith tumbles around until six-string guy Nels Cline hits a mighty boom and the music falls away. Cline’s roars and toxically bubbling trails bring the orchestra back in, rising up this time, as the drums go completely hardcore: this music has a very 80s downtown New York feel. The second part is much more ominously airy until Fujii signals a return to that twistedly, stairstepping march.

Flashback begins with a less pronounced martial beat: with its surreal volleys of microtonal triplets from the horns, it’s an action movie theme in disguise. A wry good cop/bad cop conversation between bassist Stomu Takeishi and trombonist Joe Fiedler falls away for a playfully glissandoing alto sax solo by Oscar Noriega, setting up a spaciously chattering rise by the whole band. Then it’s trumpeter Herb Robertson who gets to tickle the rhythm section, up to a series of tongue-in-cheek false endings.

Hypnotic sheets of sound from the reeds shift slowly through the sonic picture as Gounkaiku takes shape. A stately, syncopated, characteristically catchy processional follows, Pink Floyd’s Atom Heart Mother through a funhouse mirror. Trumpeter Dave Ballou’s jaunty, straightforward solo finally falls apart into squiggliness just as the orchestra decide to stop messing around and get serious. Fujii being a Libra, she knows a good dialectic when she hears one, underscored by how she brings the music full circle.

In Elementary Particle, Takeishi’s Briggs and Stratton engine burble mingles with alto saxophonist Ellery Eskelin’s shivery lines, orchestral atmospherics punching in and out: we get a redemptively crazy coda. The final cut, Everlasting, has symphonic majesty, Cline’s stratospheric flute-like melody anchored by growly bass and a Japanese folk-tinged melody. Then buffoonery ensues: first trumpeter Natsuki Tamura irresistibly antagonizing trombonist Curtis Hassellbring, then alto player Briggan Krauss and baritonist Andy Laster playing tag like a couple of of four-year-olds.

This isn’t Fujii’s most accessible work, but it’s very entertaining, another triumph for a band which also includes reedman Tony Malaby. Like many other albums released during this spring’s crisis, it hasn’t hit the web yet.

April 7, 2020 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Eunhye Jeong and Her Quartet Make Haunting Improvisational Music Out of Otherworldly Korean Pansori Themes

Pianist Eunhye Jeong‘s CHI-DA quartet’s live album The Colliding Beings – streaming at Bandcamp – is like nothing else you’ll hear this year. With an otherworldly intensity true to the spirit of the epic Korean pansori tradition, the group reinvent those stark, dramatic themes as jazz improvisation. What’s most striking is that Jeong brings in the great pansori singer Il-dong Bae, whose stern, melismatic vocals shed eerie microtones and soar over the instrumentalists in more muted moments, and interact with them when the music grows more stormy. The greatest pansori singers are known for their individualistic interpretations, so there’s always been an element of improvisation in the tradition, and Jeong seizes that mightily here, with a relentless unease and a fondness for lower registers. This is dark music.

The concert is a series of longscale works that conclude with a relatively brief, six-minute number. The group – which also includes cellist Ji Park and colorful drummer Soo Jin Suh – open with the almost eighteen-minute Jeogori, based on a historical song popular among diasporic Korean schoolchildren in Japan. There’s a lot of stark conversationality throughout this performance, beginning with murky resonance and quickly giving way to a little leaping around. The drums introduce a suspensefully muted backbeat as the cello scrapes the lows and Jeong colors the music with enigmatic close harmonies and sudden bursts. Bae’s gruffly impassioned intensity eventually recedes for a persistently flurrying, funereal Atrocity Exhibition beat contrasting with all the agitation overhead; then the vocals take over the rhythm. Mysterious lulls and gritty declamations serve as a contrasting backdrops for spare, rather bleak accents from the band.

The ghostly, anguished Return to Life begins with snowbanks of white noise from Suh’s drumheads punctuated by icy piano droplets, shards and wisps of sound from the cello as Jeong goes to stygian lows. A flickering franticness that recalls the macabre compositions of Michael Hersch develops, rises and falls, Jeong using every texture available, both inside and outside the piano, from a menacing drone to furtive scrambles and fragmented, circularly percussive phrases, Bae lingering like a spectre outside the window.

The centerpiece of the concert is The Hope Landed. In about twenty-six minutes, Bae is an often anguished, desolate voice in the wilderness, Jeong a persistently restless presence, Park and Suh the shadows lingering behind. There’s infinitely more going on: dynamically shifting variations on an insistently troubled, stairstepping Messiaenic passage; a long, aching vocal interlude with atmospheric, lurking cello and leapfrogging piano; chilly, ambient dips to stillness; surreal handoffs and echo effects; heavy, severe block chords from Jeong; and a hint of a ballad at the end.

The Sacrifice is dedicated to the victims of the 2014 Sewol Ferry disaster. Calm/acerbic contrasts between cello and piano build tension, then back away elegantly for Bae’s mournful intonations: this music transcends any linguistic limitation. The grim crescendo midway through, seemingly where the overcrowded boat capsizes and everything goes flying, is arguably the most intense point of the show. They bring it full circle, elegaically.

They close the concert with Curtain Call, a return to contrasts between shamanistic beats and poltergeist piano blurts, and shivers from the rest of the ensemble. Even if free jazz is a little outside for you, the roles are so clearly defined and the playing so focused here that fans of dark sounds in general should check this out.

March 29, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment

Satoko Fujii Just Keeps Reinventing Herself

From this blog’s perspective, one of the great things about pianist Satoko Fujii coming to town more frequently these days is that it’s an excuse to listen to another one of her records: she puts them out at an astonishing pace matched only by the astonishingly consistent quality of the music. Her next New York gig is at 8 PM this Feb 11 at Roulette with her Kaze quartet; advance tix are $18 and available there on shownights.

Of the new albums, what’s a good one to spin in advance of the show? There are so many: she put out an album a month in 2018. Why not try Triad, her trio record with bassist Joe Fonda and soprano saxophonist Gianni Mimmo, streaming at Bandcamp.

This is Fujii at her most outside-the-box: there doesn’t even seem to be a piano on the record until a couple of minutes into the airy opening number, when it becomes clear that she’s getting the strings inside it to resonate with a few deft punches as Mimmo floats and Fonda goes way up the scale for harmonics you hardly expect from a bass.

The album’s centerpiece is the forty-plus minute improvisation Birthday Girl (the album was recorded on her birthday in 2018). Mimmo gives her a lively shout-out; Fujii’s own entrance is much more austere, echoed by Fonda. With his chords and steady pulse, he holds the center as she clusters tightly, Mimmo in imperturbable good-cop role. Fujii’s icy, Messiaenic insistence, grim low-register riffage, lingering unease and momentary divergences into chaos are typical and classic for her. The hazy sax/bass duet midway through is an unexpected departure.

The remaining three tracks seem like miniatures by comparison. Accidental Partner has a similar carefree/foreboding contrast between sax and piano. No More Bugs is amusingly picturesque and aptly titled. The three close with Joe Melts the Water Boiler, Mimmo finally picking up on Fonda’s sly boogie hints as Fujii plays kitten on the keys.

February 8, 2020 Posted by | avant garde music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

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