Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Marathon Microtonal Magic with Kelly Moran at Roulette

During the momentary pause midway through Kelly Moran‘s riveting, marathon parformance at Roulette Monday night, a handful of audience members went up on the balcony to peer into the concert grand piano she’d been playing. What had she done to get such magically eerie, bell-like, otherworldly pointillistic sounds out of that thing?

Moran never addressed the issue, emerging from the wings for the second half in a new outfit – switching out an airy linen dress for a slightly more fesitve black top and jeans. Had she detuned some of the strings? There were some suspicious coppery objects inside the piano, and people in the crowd were speculating whether she’d put tacks, or similar metal objects, on some of the hammers. And there were a couple of laptops involved. Whatever the case, Moran worked the keyboard hard as she swayed from side to side on the bench, a rugged individualist reveling in her own iminitable sound.

It was a torrentially gorgeous tour through Moran’s two latest albums, plus a lengthy suite of new material. Moran combines the uneasy belltones of Mompou with the Asian inflections and rhythmic complexity of Debussy while adding her own layers of microtonal mystery. She tackled six relatively short pieces from her botanically-themed Bloodroot album with an unexpected vigor. The album is on the delicate side; here, she raised the voltage, anchoring her meticulous, rhythmically perfect righthand articulation with graceful, sparse lefthand accents, a trope that would recur with even more intensity later on. While both the subtle circular shifts of Phlip Glass and the plaintiveness of Chopin seemed to be touchstones, the music was unmistakably Moran’s.

The two new, considerably longer pieces before the intermission were even more dynamic. There was a Glass-ine matter-of-factness in the methodical, outwardly rippling variations of the first two movements of Helix II, while the aptly titled Night Music brought to mind late Ravel.

The second half of the program was more electroacoustic, Moran playing along to videos of underwater imagery in tandem with prerecorded, synthesized orchestration that ranged from low drones to what seemed to be live sampling. Often that increased the psychedelic factor, spinning her celestial curlicues and spirals back kaleidoscopically, although as the thicket of sound grew more dense, it sometimes subsumed what Moran was actually playing. After the better part of two hours onstage, she finally closed with a stately, spacious, echoingly minimalist theme to send the crowd home on a rapt note.

Roulette continues to program the most exciting avant garde and 21st century music of any Brooklyn venue, while staying in touch with their roots in the loft jazz scene. Fans of largescale improvisational music and the AACM canon might want to swing by the memorial concert for the great saxophonist Joseph Jarman this Saturday, May 25 at 2 PM; admission is free with a rsvp.

Advertisements

May 23, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Persistent Disquiet, a Roulette Show and New Material From Individualistic Keyboardist Kelly Moran

Although multi-keyboardist Kelly Moran’s albums are all solo recordings, they frequently have a psychedelic, gamelanesque quality to go along with a relentless unease. That’s because Moran multitracks herself, and prepares her piano strings for all sorts of strange muted and clock-chime effects. Her most recent album Bloodroot – streaming at Bandcamp – celebrates different species of plants, some of them garden variety, some much less so.

The eleven tracks are purposeful to the nth degree, seldom much longer than two minutes apiece. Although she’s playing brand-new material with projections at her show on Sept 7 at 8 PM at Roulette, if you’re lucky you’ll get to hear some of this deliciously uneasy material as well. Advance tix, available at the front desk on show nights, are $18.

The first track on the album, Iris, is a miniature, a chiming theme with pregnant pauses. The muting of the strings adds an enigmatic click beneath Moran’s belltone phrasing. Celandine – a close relative to the buttercup – is represented by steady, elegantly circling broken chords that Moran shifts eerily toward the shadows as she adds dissonances. From there she segues into the ornate rivulets of Freesia – it’s not clear how much electronic processing there is on the track, or if Moran has cleverly overdubbed a toy piano into the mix.

In Hyacinth, she bows the strings inside the piano for a shimmering autoharp effect and icy, doppler-like waves. Liatris – a flower akin to smaller-scale tall phlox –  is portrayed with music box-like voicings, anchored by terse, graceful piano harmonies. Moran segues from there directly into the album’s title track, a spare, brooding, Satie-esque theme. A flickering prepared piano track approximating the sound of castanets echoes the melody – t’s the strongest and most disconcerting number here.

Moran is done with the calla lily in less than a minute and a half of what could be a mashup of Webern, Mompou and Margaret Leng Tan (for a completely different take on the flower, check out the bittersweet Amy Allison song)

Sea lavender – a favorite of the composer, maybe? – gets two tracks. Statice – a common synonym – is a plaintive anthem with spiky, muted carillon-esque textures. Limonium – the flower’s taxonomical name – could be a duet between horror film composer Clint Mansell and toy pianist Phyllis Chen.

In between the two rests Aster, uneasily – it’s the closest thing to the otherworldly belltones of Mompou here, punctuated by plenty of pauses. Moran closes the album with a salute to the Heliconia, a bright red-and-yellow tropical flower and distant relative of the banana. It gets a surprisingly dark, epic portrayal, the closest thing to grand guignol on this beguiling, rather troubled album. It’ll be fascinating to see what kind of distant menace Moran can conjure up in Brooklyn this weekend. 

September 2, 2018 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment