Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Copal Creates a Haunting Global Dance Mix

Hypnotic string band Copal’s brand-new second album Into the Shadow Garden is for dancing in the dark. Alternately lush and stark, vibrant and mysterious, bouncy and sultry, their violin-fueled grooves mix elements of Middle Eastern, Celtic, Nordic and Mediterranean styles. Violinist Hannah Thiem leads the group alongside cellists Isabel Castellvi and Robin Ryczek, bassist Chris Brown, drummer Karl Grohmann and percussionist Engin Gunaydin (of the NY Gypsy All-Stars). Right off the bat, it starts hypnotically with a drone that gradually fades up – then the drums come in, then a plaintive, Middle Eastern-tinged violin melody and the first of Thiem’s many gripping, suspense-building solos that will recur throughout the album. About halfway through, it becomes clear that this is a one-chord jam. Eventually, a second violin voice is introduced; some terse harmonies follow over the slinky beat, then it fades down to just an oscillating drone, the dumbek drum and violin, and out gracefully from there. In a way, it reduces the essence of this band to its purest form. It’s music that sets a mood, gets your body moving and keeps it going – it’s awfully easy to get lost in this.

There are a couple of vocal tracks. Ether is a slow, dirgelike piece with a spoken-word lyric – in German – that builds to a fullscale string orchestra groove over almost a trip-hop beat and a trance-inducing bass pulse, and then fades down like the first number. Velvet begins with an austere fugue between the violin and cello and then begins to sway on the waves of a catchy descending progression. It builds intensely with dramatic cymbal crashes and a cello bassline, then ends cold when you’d least expect it.

There are three other long pieces here, all of them instrumentals. Ungaro is a playful, bouncy tarantella dance. Cuetara gets a brooding minor-key vamp going over a slinky Levantine-tinged groove, Thiem soaring over a lush bed of strings and stark, staccato cello accents. The album ends as it began with a majestic one-chord jam, the aptly titled Shadows, Thiem’s long Middle Eastern opening taqsim building slowly, picking up other textures along the way, taking a bit of a lull for another long solo and ending on a surprisingly jaunty note. Although pegged as electroacoustic, there isn’t much going on here that’s electro other than the occasional atmospheric keyboard part. Copal are a deliriously fun live band – they play the cd release for this album on Nov 4 at Drom, headlining at 10 PM on a killer triplebill with haunting Egyptian film music revivalists Zikrayat opening at 8 followed by Middle Eastern-flavored rockers Raquy & the Cavemen at 9.

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October 29, 2010 Posted by | middle eastern music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Thousands of One Hypnotize the Crowd at Nublu

You gotta love a band whose first gig was at a maximum security prison. Thousands of One weren’t inmates at the time, and what they do is legal – at least while Obama is in office. Last night at Nublu the reaction of the people in the crowd pretty much said it all – half of them were bobbing their heads, completely lost in the music. The rest were dancing. The band’s sound echoes and reverberates, bringing a hypnotic, psychedelic dub sensibility to funk, downtempo grooves and hip-hop, with tinges of roots reggae and Afrobeat. A couple of their early jams worked an oldschool 70s disco groove, drummer Joel Blizzard riding the snare and hi-hat behind the echoes of keyboardist Chad Lieberman’s Rhodes piano and Jake Roberts’ hypnotic, reverb-toned guitar vamps. A couple of others kicked off with darkly majestic, cinematic intros, like Dr. Dre or Busta Rhymes would do fifteen years ago – except that these were played on real instruments. Frontman Jhakeem Haltom delivered rapidfire but smoothly fluid, rhythmically dazzling, conscious and defiant hip-hop lyrics when he wasn’t singing, taking a long, trance-inducing conga solo or even playing flute on one long 70s-style soul jam that evoked Gil Scott-Heron’s Midnight Band at their most expansively mesmerizing. The band also brought along an extra alto sax player who doubled on vocals or percussion.

Bassist Brent Eva played a five-string bass with a low B string, delivering an extra cushion for the spine or the booty on the low end, a couple of times slamming out a series of fat, boomy chords as the band’s ten-minute-plus jams finally wound their way to a big crescendoing conclusion; other times, they’d fade down gracefully, a couple of times to trick endings that Lieberman or sax player Mark Wienand would pick up in a split-second and build to another big swell. Wienand’s soprano sax solo on a fast, rocksteady-tinged jam toward the end of their first set added a genuinely riveting undercurrent of unease. Building from a suspenseful Rhodes intro to a murky but catchy funk groove, the best song of the night was Ancestors, Roberts finally kicking out a brief, blistering funk-metal solo right before they finally wrapped it up. Hip-hop with a good live band is always inspiring to see; in this case, the band was as good or even better than the lyrics. Watch this space for future NYC dates.

August 20, 2010 Posted by | concert, funk music, Live Events, Music, music, concert, New York City, rap music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment