Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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

A Darkly Thorny New Album and a Nublu Release Show From Gordon Grdina’s New Trio

Like Adam Good and Brian Prunka, Gordon Grdina is the rare double threat on both oud and electric guitar. His style is closer to Good’s savage attack than Prunka’s more spacious, spare approach. Grdina’s often seethingly complex new album Nomad, with his recently formed trio including pianist Matt Mitchell and drummer Jim Black, is streaming at Bandcamp. He’s playing the album release show on Jan 17 at the old Nublu at 62 Ave. C (4th/5th Sts.), at a very early hour for that venue, 6 PM; cover is $10.

Grdina’s writing for piano here is exquisitely grim, and Mitchell returns the favor with some of his most sharp-fanged playing. The opening track, Wildfire skronks and prowls around, the pianist’s enigmatic chords and loopily twisted boogie holding the center. After piano and guitar wind into a tight spiral, everything falls apart, Mitchell’s ominous minimalism finally gaining grativas and pulling the band together again.

Grdina gives the album’s title track a thorny solo intro, Mitchell nimbly handling some daunting, darkly insistent lefthand/righthand polyrhythms, Black’s flurries keeping this one on the rails. Ride Home, meant to evoke the wear and tear of the road, is simultaneously steady and staggering, Mitchell’s eerie stairsteps against Grdina’s weaving, wandering lines, shadowed by Black; Grdina’s final, savage coda packs a wallop.

Benbow, inspired by a California hotel which reminded Grdina of the one in The Shining, gets a spacious but gritty solo guitar intro, a long, tightly clustering crescendo and an evilly glittering Mitchell solo. Loopy, disconcerting belltone phantasmagoria and surprise funk from Black permeate Thanksgiving; the trio wind up the album with Lady Choral, a wry paraphrase of “Larry Coryell” that came to Grdina in a dream. Mitchell’s disorientingly Messiaenic solo sets the scene, Grdina taking his time with his oud for the album’s most unselfconsciously majestic interlude. This is an artichoke of an album: you have to get past the spines to find the reward inside.

January 12, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , | Leave a comment

Another Relentlessly Haunting Album and an Alphabet City Gig by Guitarist Gordon Grdina

Even by his own high-voltage standards, fiery jazz oudist/guitarist Gordon Grdina has really been on a roll making albums lately. Edjeha, with his Middle Eastern jazz quartet Marrow might well be one of the half-dozen best albums released this year. His other new one, Inroads, with his quartet of reedman Oscar Noriega, pianist Russ Lossing and percussionist Satoshi Takeishi blends haunting Middle Eastern chromatics with savage improvisation and even detours into snarling doom metal and Lynchian cinematics. This is deep, dark music. Their next gig is Nov 26 at 9 PM at the old Nublu on Ave. C; cover is $10.

The album – streaming at Bandcamp – kicks off with a haunting, spaciously Satie-esque rainy-day piano tableau cruelly titled Giggles. The band follow with the album’s most epic track, Not Sure, opening with frenetic, polyrhythmic variations on a Balkan-tinged theme, disintegrating for a bit and then regrouping with a savage late 70s King Crimson focus and more of a Middle Eastern attack. Lingering psychedelic pulses give way to a brisk, twisted stroll that isn’t Britfolk or Egyptian but alludes to each of those worlds. From there the band scamper and then memorably blast their way out.

P.B.S., another epic, beginns with interchanges of creepy Rhodes and more stern acoustic piano, Grdina and Noriega – on alto sax – playing the morose central theme in tandem. A marionettish theme develops; Noriega’s microtonal, allusive circling beyond an increasingly tense center is pure genius. Deep-space oxygen bubbles escape the Sun Ra craft as solar flares loom ever closer, then sear the scenery:.Grdina’s merciless, resonant attack is breathtakingly evil.

Semantics is a brooding, morosely wafting duet for echoey, spare guitar and ghostly sax. The next epic, clocking in at practically ten minutes, is Fragments, the bandleader’s spare, spacious oud intro echoed by Lossing’s inside-the-piano flickers and muted rustles. The two develop a phantasmagorical catacomb stroll; then each band member takes a separate elegaic tour, only to reconvene with a frenetic hope against hope. Noriega’s looming foghorn solo at the end is another gloomy highlight.

The desolately crescendoing guitar/sax tableau Casper brings to mind Bill Frisell at his most disconsolate, or Todd Neufeld’s whispery work with trombonist Samuel Blaser. Kite Fight, a squirrelly and then assaultive Grdina/Noiriega duet introduces the album’s final epic, Apokalympic, Noriega eventually wafting in to join Grdina’s expansive postbop chordal guitar phrasing. Lossing’s arrival signals a turn toward franticness and terror, fueled by a scorching guitar/sax duel. The marionettish Macedonian psychedelic outro is irresistibly twisted. 

The group close with a Lynchian reprise of Giggles, Grdina’s angst-fixated, starry reverb guitar paired with Lossing’s close-to-the-vest, wounded neoromanticisms. Looks like Grdina has not one but two albums on the best of 2018 list here.

November 23, 2018 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

A Phenomenally Tuneful, Catchy New Middle Eastern Jazz Album From Multi-Instrumentalist Gordon Grdina

There’s a consensus among many musicians that if you can play one stringed instrument, you can learn to play them all if you put in the practice time. Gordon Grdina is persuasive proof: he’s as much of a force on the guitar as he is on the oud. And these days, when he’s not on tour, he’s become a welcome addition to the New York jazz scene. He’s got a couple of very different, very enticing gigs coming up. Tonight, June 14 at 8 he’s at Happy Lucky No. 1 Gallery with Marrow, his oud-driven Middle Eastern jazz quartet with Hank Roberts on cello, Mark Helias on bass and Hamin Honari on Persian percussion. Then this Saturday night, June 16 at 8 Grdina leads his more western-inflected guitar band with Oscar Noriega on reeds, Russ Lossing on piano and Satoshi Takeishi on drums at Greenwich House Music School. Cover is $15/$10 stud/srs.

Grdina has new albums with both bands as well. To say that one is edgier than the other is a hard call, attesting to the unhinged intensity the guitar quartet is capable of – especially live. It was pretty hair-raising to catch that latter ensemble doing what was essentially a live rehearsal in the middle of nowhere in Bed-Stuy a few weeks back. Grdina’s latest album with that group, Inroads, is streaming at Bandcamp. The latest Marrow album, Edjeha – Farsi for dragon – isn’t officially out quite yet. And it’s nothing short of extraordinary, genuinely pushing the envelope in terms of how far an artist can take both Middle Eastern maqam music and American jazz.

As Edjeha gets underway, Grdina takes a sparse, incisive approach to the misterioso opening cut, Telesm, almost imperceptibly building to a series of scrambling clusters as Honari keeps a muted, funereal frame drum beat going. Then Roberts builds a plaintive solo as Helias and Honari run a hypnotic groove that eventually hits a triumphant scamper. It’s closer to Levantine classical music than is it to postbop swing.

Helias takes a turn in deliciously suspenseful mode to introduce Idiolect, an insistent, anthemic Middle Eastern jazz epic that veers into waltz time for a bit, both the bassist and cellist having unselfsconscious fun mining the microtones for all the unsettled intensity they’re worth, up to a joyously otherworldly Roberts solo.

Grdina rises out of a broodingly exploratory taqsim to a circling, stabbing theme in the album’s title track, Roberts taking an emphatic, steady solo as the group spin the central riff behind him. The deceptively catchy Bordeaux Bender juxtaposes Grdina’s spare oud against similarly terse bowed strings, intimating at a casual stroll but never quite going there.

The wyrly titled Wayward begins with a darkly haphazard improvisatory interlude before Honari leads the band through a series of grinningly machinegunning motives; then they bustle along with a devious, marionettish pulse, Roberts again jumping at the chance to give it a coda. Grdina’s plaintive intro to Full Circle is a pretty radical contrast, echoed by Roberts; then Grdina completely flips the script with his genial ballad phrasing. The album’s final number is Boubacar, a surrealistic mashup of Mali, boogie and stark 19th century country blues, a shout-out to the great Malian guitarist Boubacar Traore.

Whether you consider all this jazz, Middle Eastern music, both, or a brand-new style that Grdina’s just invented, this is one of New York’s best bands, bar none. And this is one of the half-dozen best albums released this year so far in any style of music.

June 14, 2018 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Characteristically Edgy, Intense Oud and Guitar from Gordon Grdina

Vancouver-based guitarist/oudist Gordon Grdina has a deliciously edgy, smartly constructed, tuneful album, No Difference, out recently from Songlines. He’s joined by his longtime drummer Kenton Loewen along with Mark Helias on bass and Tony Malaby on tenor sax.

There are two duo pieces for oud and bass here, both recorded in concert at Shapeshifter Lab this past summer. The first, Hope in Being opens with an incisive, broodingly modal oud taqsim which coalesces into a remarkably catchy, swaying theme that Helias doubles with a similar stately precision and dynamic interaction with Grdina’s spirals and fades. The other, sardonically titled Fast Times, works a spare, spacious but slashing call-and-response, again with a Middle Eastern-flavored modal intensity.

The first of the guitar tracks, Limbo, is an enigmatic distantly ominous guitar/bass duo. Grdina builds to a Frisellian grey-sky theme,  punching up the bass response and reverb for a rhythmic, exploratory solo over Helias’ judicious, dynamically rich climbs, eerily resonant chords and dancing motives, mingling with Grdina’s blurry, disquieted chordal ambience. The Throes makes a great segue as it brings up the levels, Grdina’s long, reverbtoned, misterioso intro building to a matter-of-fact swing with bolero and Romany allusions, Malaby’s nebulous alto at first a calming contrast to the biting, incisive drive of the guitar but then joining the melee.

Leisure Park, a trio piece, quickly expands on a snarling, emphatic descending progression. Grdina’s growling, sputtering guitar solo evokes Jim Hall spun through the prism of Marc Ribot, maybe; Helias picks up his bow and fires off one of his own in a similarly biting vein.

The guitar/bass duo Nayeli Joon, a sparkling but moody waltz dedicated to Grdina’s daughter, blends a British folk edge into Grdina’s carefully articulated, almost baroque arpeggiation, Helias taking full advantage of the chance to shift the song into the shadows and then back. Cluster sets a brooding, rather severe theme and improvisation for oud and bass over echoey, increasingly agitated deep-space washes of bowed guitar.

Fierce Point begins as the most free piece here, Loewen driving the morass upward, Grdina chopping furiously at his strings, Malaby and Helias blippy and surreal as Grdina wanders through this wilderness all alone, his creepy oud-flavored lines morphing into a wry early 70s-style metal-jazz vamp. The final number, Visceral Voices, shuffles genially with the most trad postbop flavor here, Grdina spicing it with the occasional menacing, reverberating, lingering riff against Malaby’s nonchalantly burred lines and Helias’ hard-hitting attack. Another triumph of intense, straightforward tunesmithing and agile, inspired interplay from one of this era’s most distinctive voices on the guitar.

December 27, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment