An Intriguing, Diverse New Album from Percussionist Justin DeHart

Who would be interested in an album of solo percussion, other than a fellow percussionist or composer? Justin DeHart’s new album Strange Paths addresses that question with a playful and virtuosic mix of contemporary and 20th century works, just out on Innova. Steadily and ambidextrously, DeHart builds a sonic spectrum ranging from hypnotically soothing, to suspenseful, with many shades in between: it rises to the challenge of entertaining a jaded listener who might not ordinarily gravitate to music made on things meant to be hit with a stick of some kind, over and over..

The opening number, Michael Gordon‘s XY is insistent and has a hard-hitting, subtly polyrhythmic, mechanical aspect, yet the way it’s done here, it’s more of a peaceful drummers-in-the-park tableau than annoy-your-neighbors assault. It sounds easy but in reality is cruelly difficult, requiring a Bach-like precision and an attention to minute detail that overcomes the work’s hypnotically echoing aspect. DeHart is up to the task.

Iannis Xenakis’ Psappha, the best-known of the pieces here, empowers DeHart to become a one-man orchestra via tuned drums in all sorts of timbres, up and down the register,  precisely marching yet lively, playing intricate variations on and off a series of polyrhythms, some bracing, some very subtle, particularly on the more emphatic, lower notes. The space between increased to the point of suspense and then comedy, a musical Waiting for Godot. Breathy cymbals add a syncopation that, when written in 1975, foreshadowed the loping groove of hip-hop.

Brian Ferneyhough’s Bone Alphabet, perhaps predictably, has a more skeletal feel and a thicket of constantly changing sonics, some woody and hollow, some metallic and booming, a restless prowl through a junkyard of the mind. The final track here, Stuart Saunders Smith’s four-part vibraphone suite They Looked Like Strangers draws on a memory of childhood humiliation, a small boy realizing how far estranged he’s become from his family as they ridicule him for a slip and a fall into the lake: he vows  not to let this disrespect slide. A slow, gingerly hazy summery ambience builds to eerie music-box ambience; wiith its lingering, otherworldly resonances, it draws a straight line back to Bernard Herrmann’s Hitchcock film scores. Then, casually and methodically, DeHart takes it into full-blown, resonant Lynchian menace. It’s a creepy piece of music in every sense of the word.

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Bang on a Can Marathon 2010: The Early Hours

This year’s Bang on a Can Marathon aimed to be especially audience-friendly. In the “social media lounge” on the World Financial Center balcony, you could recharge your laptop, play an Evan Ziporyn or Julia Wolfe composition on Rock Band (!?!) and get your hand stamped by the hour. Those with a full twelve hours worth of stamps at the night’s end had earned Marathon Warrior designation, a certificate of merit (suitable for framing!) plus a mention on Bang on a Can’s main site and their twitter page. A little extreme, maybe, but that’s what a marathon’s all about. How does this year’s rank, compared to previous years? From the first four hours’ worth, somewhere around the top. The annual new music showcase runs ’em on and runs ’em off, meaning that if you don’t like the piece or ensemble that’s onstage at the moment, you can always come back in ten minutes and there’ll probably be somebody new up there. This year’s selection of performers and composers was characteristically skewed toward the avant-garde (subcategory: postminimalist) with jazzy edges.

The John Hollenbeck Large Ensemble opened the show auspiciously with the drummer/composer’s Perseverance, the centerpiece of the group’s excellent 2009 album Eternal Interlude. Completed on Election Eve, 2008 and dedicated to Obama, it sends three specific sax voices (played by Ellery Eskelin, Tony Malaby and Jeremy Viner) fluttering and flailing against the big band’s majestic swells and a couple of inspired drum breaks by the composer. Eskelin got the Obama role and hung in there tenaciously for all it was worth.

Innovatively and more than a little deviously, German recorder quartet QNG ran through a New York premiere of Dorothee Hahne’s somewhat understated Dance Macabre and its neat half-time ending, and then Paul Moravec’s Mortal Flesh, shifting from hypnotic horizontality to warped baroque, utilizing at least half a museum’s worth of recorders of various sizes. They brought the big seven-foot model out for the final piece, Moritz Eggert’s LOL funny Flohwalze (that’s German for Chopsticks – the tune, that is), mocking and thrashing its cheesiness to the fullest extent that a recorder quartet can thrash.

The mockery continued with Kyrzyg musicians Kambar Kalendarov and Kutman Sultanbekov playing a simple boing-boing jews harp riff over and over again, completely deadpan until the very end, as if to see if the westerners in the crowd knew they were being had. The crowd’s polite applause seemed to confirm the Kyrzygs’ suspicions. The duo finally played a little country dance on lute and fiddle and that was that.

Florent Ghys effectively took speech patterns and did a one-man band thing, making vaguely baroque-themed loops out of them by playing his upright bass through a series of electronic effects. Eggert then did the same on piano, except that his Hammerklavier III went all-out for laughs and delivered them in droves as he pounded the piano everywhere he could reach, finally kicking up his heel on the low keys and losing his shoe in the process.

The Lucy Moses School’s ensemble Face the Music played Graham Fitkin’s Mesh, which attempts to make a rondo capricioso of sorts out of minimal, circular phrases that eventually move into elevator jazz territory. Following them was a duo playing a Tristan Perich work for tubular bells, electronically processed and amplified to the point that it was like being behind a fleet of garbage trucks with their backup alarms shrieking at full volume: a bathroom break waiting to happen.

Alto saxophonist/composer Steve Coleman, joined by Jonathan Finlayson on trumpet, and David Millares on piano played the captivating suite Formation – Lunar Eclipse, cleverly and often intensely exploring permutations of a hypnotic, circular introductory theme that finally got the chance to cut loose when Millares, whose intensity shadowing Coleman’s sax lines all the way through finally got a chance to break loose and wreak some slightly restrained havoc.

With their marimbas, vibraphones, gongs, water jugs and all sorts of other bangable objects, percussion troupe Slagwerk Den Haag opened their short set with the New York premiere of Seung-Ah Oh’s delightfully playful DaDeRimGill, a dramatic laundry-room scenario that managed to be as purposeful and conversational as it was comedic. Marco Momi’s Ludica (an American premiere) displayed the same kind of conversational tradeoffs and humor.

While one trailerload of instruments was being cleared off the stage for another, the JACK Quartet played Iannis Xenakis’ Tetras on the steps in the back of the atrium, amid the audience, moving from characteristic astringent, percussive phrases to swirling and strikingly melodic ambience. It was the big hit of the day, at least until Evan Ziporyn and his group Gamelan Galak Tika were ready to go. Bang on a Can’s Michael Gordon laughed it up with the composer beforehand since the group follow oldschool gamelan tradition, right down to the matching uniforms and seating arrangements. “I thought it was the Bang on a Can pyjama party,” Ziporyn responded sheepishly. “Xenakis, next to a gamelan, really sums up Bang on a Can,” which pretty much says it all.

And the Ziporyn piece they played, Tire Fire, was as aptly titled as it was transcendent. Ziporyn self-deprecatingly remarked beforehand that the piece really had no real reason to exist. Which maybe it doesn’t – other than to give audiences (and ensemble members) a shot of pure adrenaline exhilaration. It’s a triptych of sorts, each theme introduced by the group’s two electric guitarists. The first movement was the eeriest and the best, the ensemble’s bells ringing out an ocean of overtones against the Telecaster’s ominous shades. The two following movements were more optimistic, the second pulsing along with catchy yet stately electric bass. And with that, after four hours of music, it was time to fly out into the hundred-degree heat. Which combined with the messed-up state of the West Village, the police mystifyingly blocking off access to subways from Christopher to 14th St. despite the presence of a huge crowd who’d come out for the gay parade, made the prospect of a return later in the day a foregone conclusion.

Make Music NY 2010

Nice to see the organizers of New York’s version of La Fete de la Musique get their own site going this year. We went through it and cherrypicked the best shows we could find, just for you, if you’re feeling up for a little wandering around town during lunch, or after work – or if you’re one of the legions of the unemployed here, why not make a day out of it? As far as we can tell (last year’s master calendar only listed a fraction of the day’s actual performances), these are your best bets for all the free shows happening Monday, June 21. Note that many ambitious acts offer you more than one chance to see them. As far as locations are concerned, Monday’s best lineup is at the cube at Astor Place starting at a quarter to one with the Xylopholks, Electric Junkyard Gamelan at 1:45, Balthrop Alabama at 3:30, Black Sea Hotel at 4:30 and then Pearl and the Beard at 5:15. Also worth checking out later: the country/blues night at 68 Jay St. Bar, the all-day funk extravaganza at Rose Bar and the reggae night at SOB’s. Fortuitously, you can also go to the Punk Island show and not miss a thing because that’s on Sunday starting at 10 AM (early arrival advised) and going til five with DOA, Blanks 77, Hub City Stompers and all kinds of other excellent bands.

At noon fun and innovative latin soul/bugalu revivalists Spanglish Fly plays outside Rose Bar; at 6 they’re at the park at 2nd Ave. and E 10th St.

At noon French reggae/dub crew Dub. Inc. play City Winery; at 8 they’re at SOB’s

At noon powerpop guitar god Pete Galub plays Society Coffee, 2104 Frederick Douglass Blvd in Harlem.

At noon jazz chanteuse Carolyn Leonhart and her bass player dad Jay Leonhart play the eco-houseware store at 432 Myrtle Ave. in Ft. Greene; at 1:30 they move to 350 Myrtle.

At half past noon five-string Celtic fiddler Cady Finlayson and guitarist Vita Tanga play Irish music at 40 Wall St.; they move to the NYPL branch at 112 E 96th St. at 3 PM

Starting at 1 PM avant garde composer Iannis Xenakis’ trancey, intense percussion piece Oresteia will be performed at the Swedish Marionette Cottage Theatre in Central Park, enter on the west side at 79th St and follow the signs (or the noise). His Persephassa will be performed at the lake in Central Park (enter on the west side, 72nd St.) at 3:30 and 5:30

12:45 PM furry-suited vibraphone ragtime swing outfit the Xylopholks play the cube at Astor Place.

1 PM the Famous Accordion Orchestra play Brooklyn Bridge Park, Plymouth and Main St. in Dumbo – note that this is a state park so be careful if you’re drinking alcohol.

1:45 PM Electric Junkyard Gamelan – who played one of the most amazing shows we’ve seen all year – at the cube at Astor Place.

2 PM popular synth-pop dance duo Hank and Cupcakes play at the Loving Cup Cafe, 93 N 6th St. in Williamsburg; they seem to be doublebooked with funk mob Turkuaz, who are also playing outside Rose Bar on Grand St. at 6.

2 PM Mission on Mars plays psychedelic acoustic raga/rock/jazz hybrid stuff at the great hill in Central Park, enter on the west side at 103rd St.

2 PM Sukari play reggae and ska at Hunts Point Park, Lafayette Ave. and Edgewater Road in the Bronx

3 PM torchy, no-nonsense jazz/pop pianist Jeanne Marie Boes plays at Cafe Bar, 32-90 36th St. in Astoria; at 6 PM she’s at Brick Cafe at 30-95 33rd St. in Astoria.

3 PM literate, Springsteen-ish blue collar songwriter Al Lee Wyer plays Battery Park

3:30 PM Balthrop, Alabama plays at the cube at Astor Place followed by the wonderful, otherworldly Balkan vocal quartet Black Sea Hotel at 4:30 and then bracingly smart cello rockers Pearl & the Beard at 5:15

4 PM klezmer jazz crew Talat at the Cathedral of St. John the Divine

4 PM Benny and the Ben-Ja-Min Band play reggae and ska at Beach 21st St. and the boardwalk in Far Rockaway; at 7 PM, they move to the Bushwick Project for the Arts, 304 Meserole St.

4 PM Chink Floyd at Tompkins Square Park – gotta love that name

4 PM violinist Karen Lee Larson and jam-oriented friends are at Society Coffee, 2104 Frederick Douglass Blvd in Harlem.

4:30 PM Gamelan Son of Lion plays Pier One at Brooklyn Bridge Park, Columbia Heights and Cranberry St. in Dumbo

5 PM the Hsu-Nami play ferocious, Asian-tinged metal/art-rock instrumentals with guitars and a Chinese erhu fiddle at the Peach Frog Companies (?), 136 N 10th St. in Williamsburg

6 PM tuneful, smart avant garde cellist/songwriter Jody Redhage & Fire in July at the Dumbo Arts Center, 30 Washington St. in Dumbo

7 PM the Voxare String Quartet at Bargemusic in Dumbo, program TBA

7 PM blazing, dark Balkan dance music from across the centuries with Raya Brass Band at Bubby’s at 1 Main St. in Dumbo

7 PM the satirical, playful, ageless Remy de Laroque plays Roosevelt Park in Chinatown, Houston and Christie.

7 PM artsy, clever accordion pop with Cassis & the Sympathies at Battery Park, moving to the Fulton Ferry Landing in Dumbo at 9

7 PM oldschool Brooklyn rock vet John Hovorka and his band at McGoldrick Park, Driggs Ave and Russell St. in Greenpoint

7 PM Num & Nu Afrika Project play roots reggae at Drastadub Studio, 58 W. 127th St.

7 PM the Old Rugged Sauce play deviously virtuosic guitar jazz standards at Mousey Brown Salon, 732 Lorimer St. in Williamsburg

7 PM punkish rockers Diabolique play Barretto Point Park, Tiffany St. and Viele Ave. in the Bronx – we saw them a couple of years ago and thought that by now they’d be even more interesting.

7:30 PM scathingly literate noir rocker LJ Murphy (completely mischaracterized on the MMNY site as “folk”) at 136 Milton St. in Greenpoint

7:30 PM Jan Bell’s soaring, haunting Americana band the Maybelles at 68 Jay St. Bar followed at 8:15 PM by hypnotic Mississippi hill country blues guitar genius Will Scott

7:30 PM Hungry March Band play Balkan brass music at Jackson Square, Horatio St. and 8th Ave. in the west village

8 PM lyrically dazzling, fiery art-rock band Changing Modes play Cafe Bar, 32-90 36th St. in Astoria

8 PM the phantasmagorical Carol Lipnik & Spookarama play the community garden at 346 E Houston between B and C