Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Vieux Farka Toure Burns His Guitar

Vieux Farka Toure didn’t really burn his guitar, at least the way Hendrix burned his. He just turned in an incandescent performance. It’s a useful rule of thumb that if a performer plays well in daylight, he or she will rip up whatever joint they’re in come nightfall. Or maybe Toure’s just a morning person. Thursday afternoon in Metrotech Park in downtown Brooklyn, the Malian guitarist didn’t let the crushing tropical heat and humidity phase him, blasting through one long, hypnotic, minimalistically bluesy number after another.

Like his father, desert blues pioneer Ali Farka Toure, he’ll hang on a chord for minutes at a clip, building tension sometimes thoughtfully, sometimes with savage abandon. That intensity – along with a long, pointless percussion solo- is what got the audience – an impressively diverse mix of daycamp kids and their chaperones, office workers and smelly trendoids – on their feet and roaring. Using his signature icy, crystalline, Albert Collins-esque tone, he took his time getting started, subtly varying his dynamics. What he does is ostensibly blues, inasmuch as his assaultive riffage generally sticks within the parameters of the minor-key blues scale. But the spacious, slowly unwinding melodies are indelibly Malian, with the occasional latin tinge or a shift into a funkier, swaying rhythm. This time out the band included a bass player along with Toure’s steady second guitarist, playing spikily hypnotic vamps on acoustic, along with a sub drummer who was clearly psyched to be onstage and limited himself to a spirited, thumping pulse, and a duo of adrenalized percussionists, one on a large, boomy calabash drum.

Lyrics don’t seem to factor much into this guy’s songwriting: a couple of numbers featured call-and-response on the chorus in Toure’s native tongue, but otherwise it was all about the guitar. As the energy level rose, he’d launch into one volley after another of blistering 32nd-note hammer-ons. And he wouldn’t waste them – after he’d taken a crescendo up as far as he could, he’d signal to the band and in a split second they’d end the song cold. It’s hard to think of another player who blends purposefulness with blinding speed to this degree (although, again, Albert Collins comes to mind – although Toure is more playful than cynical). Toure’s show this past spring at le Poisson Rouge was the last on an obviously exhausting tour: he’d sprint as far as he could, then back off when it was obvious that he needed a breather. Thursday was more of a clinic in command: Toure was completely in control this time out. Like most great guitarists, he spends a lot of time on the road (and has a killer new live album just out, very favorably reviewed here), so you can expect another New York appearance sooner than later.

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August 2, 2010 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Top 10 Songs of the Week 7/12/10

OK, OK, we’re a day late. But who’s counting. This is just another way we try to spread the word about all the good music out there. As you’ll notice, every song that reaches the #1 spot on this list will also appear on our 100 Best Songs of 2010 list at the end of December. We try to mix it up, offer a little something for everyone: sad songs, funny songs, upbeat songs, quieter stuff, you name it. If you don’t like one of these, you can always go on to the next one. The only one here that doesn’t have a link to the track is #1 and that’s because it’s so new.

1. The Brooklyn What – Punk Rock Loneliness

About time Brooklyn’s most charismatic, intense, funny rockers returned to the top spot here. This one has a Dead Boys influence, with the two smoldering guitars and frontman Jamie Frey’s menacing lyric aimed at the gawkers who pass by what used to be CBGB. “You wanna be a dead boy?” Let’s get the Brooklyn What on Hipster Demolition Night!

2. Ernie Vega – Cocaine Blues

Not the one you’re thinking of – this one’s a lot more rustic and it’s hilarious, like something you’d hear on a Smithsonian recording from the 1920s.

3. Under Byen -Alt Er Tabt

A Danish version of the Creatures: catchy, atmospheric vocal overdubs, terse accordion and strings over a clattering Atrocity Exhibition rhythm.

4. Golden Triangle – Neon Noose

X as played by late 80s Jesus & Mary Chain – they’re at South St. Seaport on 7/16 at 6

5. Loose Limbs – Underdog

Lo-fi garage rock with soul/gospel vocals – if you like the Detroit Cobras you’ll like Loose Limbs. They’re at South St. Seaport on 7/23 at 6

6. Jeff Lang – Home to You

Wild insane steel guitar blues by the innovative Aussie guitarist.

7. Mike Rimbaud – Dirty Little Bomb

Classic new wave songwriting by a survivor from the very end of the era, still going strong twenty years later.

8. Costanza – Just Another Alien

The lyrics are the text from a US Immigration form. Eerie and apropos.

9. J-Ron – Weed Song

Texas faux “R&B.”

10. Amy Coleman – Goodbye New York

This is such a blast from the past, it’s kinda funny: the bastard child of DollHouse and Pet Benetar. Suddenly it’s 1979 again. Except it’s not.

July 13, 2010 Posted by | blues music, lists, Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

CD Review: Vieux Farka Toure – Live

A characteristically intense, often exhilarating album by one of the great guitarists of our time. Vieux Farka Toure’s dad Ali Farka Toure was one of the inventors of duskcore, the patiently meandering, hypnotic desert blues. Unlike his dad, Vieux Farka Toure is not exactly a patient player, but in the family tradition he’s also invented his own style of music. Whether it’s blues, or an electrified and electrifying version of Malian folk music is beside the point. He may be playing in a completely different idiom, but Vieux Farka Toure’s approach is essentially the same as Charlie Parker’s, creating mini-symphonies out of seemingly endless, wild volleys of notes within a very simple chord structure. Bird played the blues; sometimes Toure does. Other times he just jams on a single chord. Whatever the case, Toure is the rare fret-burner who still manages to make his notes count for something: this album isn’t just mindless Buckethead or Steve Vai-style shredding. The obvious comparison (and one which invites a lot of chicken-or-the-egg questions, which may be academic) is to hypnotic Mississippi hill country bluesmen like Junior Kimbrough and Will Scott.

Toure’s attack is fluid and precise, utilizing lightning-fast hammer-ons whether he’s sticking to the blues scale, or working subtle shifts in timbre and rhythm during the songs’ quieter passages. He plays with a cool, watery, chorus-box tone very reminiscent of Albert Collins. Here he’s backed by an acoustic rhythm guitarist who holds it down with smooth yet prickly repetitive riffs, along with percussion, sometimes bass and a guest guitarist or two (Australian slide player Jeff Lang converses and eventually duels with him memorably on one track). The album collects several of the hottest moments of a 2009 European and Australian tour.

The midtempo opening number is a teaser, only hinting at the kind of speed Toure is capable of. As with several of the other numbers here, call-and-response is involved, this time with band members (later on he tries to get the audience to talk back to him in his own vernacular, with particularly mystified results). The slow jam that serves as the second track here is a study in dynamics and tension-building up to the ecstatic wail of the next cut.

A couple of songs here work a boisterous, reggae-tinged groove; another echoes the thoughtful, Castles Made of Sand side of Hendrix. When Toure’s taken the energy as high as anyone possibly could, sometimes he’ll stop cold and end the song there rather than doing something anticlimactic. He winds up the album with a big blazing boogie with a trick ending and then a stomp featuring a couple of characteristically paint-peeling solos along with a breakdown where the band takes it low and suspenseful until Toure is ready to wail again. If lead guitar is your thing, this is somebody you need to know – and somebody you really ought to see live. Like most of the great lead guitarists, Toure pretty much lives on the road – his next NYC gig is at Metrotech Park in Brooklyn at noon on July 29.

July 2, 2010 Posted by | blues music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment