Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Threeds’ Oboes Make You Laugh and Give You Chills Too

The idea of a band with three oboes and not much of anything else is pretty awesome in itself. Add an irrepressible sense of humor, a penchant for rearranging familiar tunes in unfamiliar ways, and three players with chops as soulful as they are technically impressive, and you get the Threeds oboe trio. Their new album Unraveled is pure joy – except when it’s bittersweet, or sad, or even haunting, as it is much of the time. Much as Kathy Halvorson, Mark Snyder and Katie Scheele have a great time rearranging Michael Jackson, Stevie Wonder, Bjork and others, this is as about as far from a joke record as you can get. Can you say cutting-edge with a smirk?

On the opening track, Joga, they find Bjork’s plaintive inner baroque soul. Their cover of Billie Jean has Pavel Vinnitsky’s bass clarinet playing the bassline perfectly deadpan and mechanical, with the trio in perfect alignment. In the beginning, the arrangement really nails the cold, heartless precision of the original; as it goes on, it’s impossible to escape the context, and becomes just plain hilarious, especially when two of the oboes do those staccato backing vocal lines. Best yet, you can download it for free. While the version of Stevie Wonder’s Superstition also has the bass clarinet playing the bassline, it swings, and so do the oboes – it’s blissfully funky. In a pretty stark contrast, Paranoid Android gives Radiohead’s crazy cyborg some real humanity – when it segues into a restless march, it’s one of the most unaffectedly intense moments on the album.

Goodbye Pork Pie Hat begins as a duo, with Scott Anderson on acoustic guitar and Halvorson playing Mingus’ sad, bitter lead lines. It’s a potent reminder that Mingus wrote the song as an elegy for Lester Young, the bass clarinet’s sustained lines underscoring Halvorson’s understatedly wounded, blues-infused phrasing. Light My Fire has drums, percussion, and tambourine along with bass clarinet – it works as well as it does because Manzarek nicked a Chopin riff for it! The spiraling bop oboe at the point where the organ solo kicks in is pretty hilarious, and absolutely spot-on. The most intriguingly complex arrangement here is the series of lushly intricate, shifting segments in the suspenseful, nocturnal Spanish Stairs.

Dospatsko Horo is the Balkans done as baroque – it doesn’t quite turn the party into a wake but it’s definitely a radical reinvention. Hoagy Carmichael’s Skylark also gets a radical reinvention, in this case as riff-driven 21st century circular music.The other tracks include the classic tango El Choclo done as a brooding yet sprightly baroque round; Piazzolla’s Oblivion, a bolero-flavored pop ballad; Little Feat’s Roll Um Easy, which surprisingly hits a mellow early 70s Allman Brothers vibe, soaring oboes enhancing the blue-sky ambience. The only track here that’s not worth uploading is not the band’s fault. This works on so many levels – as party music, as a monster ipod mix and as sophisticated 21st century stuff. Look for this one on our best-of-2011 list at the end of the year.

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November 14, 2011 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Concert Review: Trio Threed at Trinity Church, NYC 2/26/09

There was a nip in the air, but inside the church the atmosphere was beckoning and warm – just as it should be. In yet another demonstration of the parish’s dedication to bringing strikingly diverse and often brilliant music programming to the downtown community, Trio Threed, a new wind ensemble including oboeists Kathy Halvorson and Mark Snyder as well as English horn player/oboeist Katie Scheele, treated the afternoon crowd to a seamless program of old and new material.

 

They opened with German baroque composer Johann Quantz’s Sonata in D Major, K. 46. Quantz, a flutist, wrote mainly for that instrument, but this five-segment partita had more of an orchestral feel. Its best sections were its upbeat, Vivaldiesque opening prelude and the plaintive aria that followed. Beethoven’s Trio for Two Oboes and English Horn, Op. 87 was next, warmly atmospheric with a similar baroque feel. From the opening largo through the rather boisterous adagio that closed the piece, the group maintained a fluid, conversational legato even in its sparser passages. As often is the case with new groups, it’s apparent why they play so well together: they clearly enjoy each other’s company, and this carried over to the audience.

 

A trio originally written for 3 flutes by Russian composer Alexander Tcherepnin proved amusing and silly in places with its romping oompah melody; Gordon Jacob’s Two Pieces for Two Oboes and Cor Anglais was a gorgeous, obviously more modern work. It was an auspicious way for the trio onstage to go out: an atmospheric, circular, Alpine intro, followed by a brief, lively dance ending on a somewhat stark, adagio note, then bitter and restless but eventually rising to a clever, playful, rapidfire chase sequence. The group played with an effortless dexterity, as if the piece had been written for them. If chamber music is your thing, keep your eye on this talented trio.

 

February 26, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , | Leave a comment