Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Lushly Kinetic Album and a Chelsea Show by Inventive String Quintet Sybarite5

String quintet Sybarite5’s imaginative instrumental reinventions of Radiohead songs earned them worldwide acclaim, but their Thom Yorke fixation is only part of the picture. On their latest album, Outliers – streaming at Bandcamp – they bring their signature lush, kinetic sound to a collection of relatively brief, energetically balletesque pieces by some of their favorite indie classical composers. The result is part contemporary dance soundtrack, part 21st century chamber music: the connecting thread is tunefulness. They’re bringing that blend to a show at the Cell Theatre on Dec 7 at 8 PM; cover is $27.

The album opens with the catchy, punchily circling Getting Home (I must be…), by Jessica Meyer, the violins of Sami Merdinian and Sarah Whitney bustling tightly alongside Angela Pickett’s viola, Laura Metcalf’s cello and Louis Levitt’s bass.

Yann’s Flight, by Shawn Conley vividly echoes Philip Glass’ work for string quartet, right down to the dancing pizzicato from the bass and the cello’s stern counterpoint. As the group build the piece, hints of an Irish reel contrast with stillness, then more triumphantly rhythmic images of flight.

Eric Byers’ Pop Rocks is a playful, coyly bouncing staccato web of cell-like, Glassine phrasing. Dan Visconti’s triptych Hitchhiker’s Tales begins with the alternating slow swoops and momentary flickers of Black Bend, slowly morphing into a majestic blues with some snazzy, slithery, shivery work from the violins. The considerably shorter Dixie Twang gives the group a launching pad for icepick pizzicato phrasing, followed by another miniature, Pedal to the Metal, where they scamper together to the finish line.

They dig into the punchy, polyrhythmic scattato of Revolve, by Andy Akiho, with considerable relish; Levitt’s understated, modal bassline anchors the lithe theme, the violins eventually rising to a whirlwind of blues riffage. Mohammed Fairouz’s Muqqadamah, which follows, is the most pensive, airy, baroque-flavored track here.

The rest of the album is inspired by dance styles from around the world and across the centuries. The band expand deviously from a stark, wickedly catchy 19th century minor-key blues theme in Kenji Bunch’s Allemande pour Tout le Monde. Daniel Bernard Roumain’s Kompa for Toussaint also builds out of a minor-key oldtime blues riff to some neat, microtonal hints of a famous Nordic theme, then an enigmatic mist. Sarabande, another Byers piece, slowly emerges from and then returns to a wistful spaciousness.

The album’s most shapeshiftingly catchy track, Michi Wiancko’s Blue Bourée blends blues, the baroque and a little funk. The final number is Gi-gue-ly, by cinematic violist/composer Ljova, a delicious, Balkan-inflected, trickily syncopated tune that grows to pulsing misterioso groove. It’s a party in a box, probably the last thing a lot of people would expect from a contemporary classical string ensemble.

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November 30, 2018 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Dreamy, Woodsy Sounds from Makoto Nakura

Viirtuoso marimba player/vibraph0nist Makoto Nakura has a thematic album of new works by contemporary composers titled Wood and Forest just out on American Modern Recordings. If soothingly earthy sounds are your thing, he’s playing the cd release show at the Rubin Museum of Art, 150 W. 17 St. on Wednesday, Nov 14. The concert begins with a museum tour at 6:15, a brief break for refreshments and then the show at 7; $15 advance tickets are still available as of this writing. Also on the program is Nakura’s eclectic percussionist labelmate Robert Paterson, whose latest album showcases his pioneering six-mallet technique.

The version of Jacob Bancks’ The Trees Where I Was Born on Nakura’s album is a condensed arrangement of a work for orchestra and choir. As Nakura plays it, solo, it shifts from slightly jungly to strolling and folksy, through a spacious nocturne and then a crescendo that swells while maintaining a hypnotic Southern forest ambience. Violist Kenji Bunch’s Duo for Viola and Vibraphone features the composer joining Nakura on this triptych. A brightly circling, twinkling night theme hints at a brisk bustle, goes more cantabile and then illustrates birds in flight with a jaunty bounce that turns into something akin to March of the Baby Penguins.

By contrast, Paterson’s Forest Shadows opens with a dappled insistence but soon goes macabre: these woods are haunted! Based on plainchant, Bancks’ Arbor Una Nobilis is a long mini-suite, Jesse Mills’ violin mingling and sometimes dancing with the marimba through minimialist, staccato insistence, echoes of the baroque, quiet ambience and then a slightly more muted return.

Winik/Te, by Carlos Sanchez-Gutierrez uses a Mayan myth as metaphor for ecological crisis, men made of mud and wood up to no good in the forest. Rubato rhythms and surreal conversational exchanges create the most vivid work here (along with Paterson’s eerie cinematics). The album concludes with Michael Torke’s After the Forest Fire, a portrait of destruction and renewal featuring Wilhelmina Smith on cello and David Fedele on flute, which quickly expands into the album’s most anthemic track. Throughout the pieces, Nakura’s nimble malletwork creates an echoey resonance that’s by turns trance-inducing, bracing and often utterly pillowy. To say that an album is good to fall asleep to is usually an insult to the extreme: as far as this one’s concerned, it’s hard to think of any recent release that’s as pleasant a launching pad to Dreamland.

November 13, 2012 Posted by | avant garde music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Ethel’s Latest Album Is Worth the Wait

Extrovert violinist Todd Reynolds may have left adventurous string quartet Ethel to pursue his solo career, but the group continues on with Mary Rowell filling his place. And the group’s long-awaited new album, Heavy – out from Innova in a charmingly vintage, oversize package – proves to be worth that wait. The title is a little misleading: the moods evoked here run the gamut from raw, unleashed menace to playful and fun. The centerpiece is an early Julia Wolfe composition, Early That Summer. It’s classic Wolfe: driven by a cruelly emphatic, incessant staccato rhythm that the ensemble never wavers from, it begins with creepy, tritone-fueled exchanges of machinegun fire between the ensemble with intricate dynamic shifts. Cellist Dorothy Lawson is the star of this one early on over the suspenseful ambience of the higher strings, Rowell plus violist Ralph Farris and violinist Neil Duffalo. Disjointed Giant Steps phrases bring on more relentless staccato and increasingly unsettling microtones, growing more stately and then fading. Like so much of Wolfe’s work, it takes your breath away – it might be the most viscerally intense piece of music released this year in any style of music.

John Halle’s Sphere [‘]s developes a summery plantation soul ambience, its rustic charm underpinning subtly alternating voices with bluesy allusions, trainwhistle slides, and variations that crescendo with an elegant spiritual feel. John King’s pensively bucolic No Nickel Blues moves from quavery off-pitch ambience to slow, soulful, judicious variations, steady over a tricky tempo. Another standout track, Raz Mesinai’s La Citadelle takes a swooping, diving gypsy dance and expands on it, alternately minimalist and cinematic – this particular citadel is as active as a busy airport, and fraught with chromatically-charged tension. By contrast, David Lang’s pensive, rather horizontal Wed works subtle variations on simple, memorable sostenuto motifs.

Kenji Bunch joins the ensemble for a lively take on his String Circle, blending Celtic and bluegrass motifs into its shapeshifting architecture colored by subtle microtonal shades and an intricate divergence of voices. As it builds, it becomes more classical than bluegrass, developing a warmly balmy, cantabile pulse. The album’s final track, Marcelo Zarvos’ Rounds ends the album on a resonantly cantabile note, a pretty, Britfolk-inflected song without words exchanging hypnotic, circular pizzicato passages with a swelling, cantabile pulse. There’s also a string quartet by Don Byron that opens the album and which you will probably want to leave off your phone, or your machine, whatever that may be, when you upload this. Otherwise, this is a rich and rewarding mix that ought to appeal to rock fans as well as those with a taste for more challenging sonics.

August 14, 2012 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Makoto Nakura Plays Bach, Osada and Bunch at Trinity Church, NYC 2/21/08

Interpretation has never been more fresh than it was this afternoon, as Japanese expat marimba player Makoto Nakura played a fascinatingly imaginative, spectacularly virtuosic program of classical and modern works. Although Nakura didn’t seem to even break a sweat, the passion of his performance matched his precision. He began with his own arrangements of two etudes and then two preludes by Villa-Lobos. Playing the marimba or vibraphone requires equal amounts of athleticism and meticulous skill, and Nakura nailed it all, both during the baroque-inflected studies that seemingly served as a warmup, and the more complicated, lyrical two works that he followed with.

Next, he tackled a piece written for him by Japanese composer Moto Osada, entitled Sylvan Lay and Pastoral Air. From traditional Japanese mythology, it’s a narrative of confrontation and forgiveness involving a couple of medieval warriors, although there was absolutely nothing remotely antique about this difficult, tonally challenging, intensely cerebral work. There were some striking passages, including an ominously percussive series of tritones early on, and one particularly impressive, rapid run down the scale midway through, but this is a piece that requires repeated listening.

After that, Nakura played his own arrangement of Bach’s popular Violin Sonata No. 1 in G Minor. This is one of those NPR Bach pieces, a well-known composition frequently heard around Christmastime during pledge drives, but Nakura made it all his own, from the sad tonalities of the adagio that opens the piece, to the interesting, Vivaldiesque “Siciliana” that serves as a third movement, to the rousing Presto that wraps it up. Following this with the Fugue from one of Bartok’s final compositions, the Solo Violin Sonata, was ambitious, but the move fell flat: as can happen in Bartok’s work from time to time, the piece is fussy and overworked, and the new arrangement did nothing to compensate for the lack of emotional compass.

To close the show, Nakura invited composer Kenji Bunch up to the mic to introduce his recent composition Triple Jump, also written for Nakura. Written specifically for the marimba, it’s an intriguing, smartly arranged three-part suite, the first evoking Chicago lounge-psychedelia instrumentalists Tortoise, the second being a thoughtful, somewhat pastoral evocation of stones skipping across a placid pond, the final being an impressively upbeat portrayal of muscle and sinew in action. A program like this might at first glance seem far better suited to something like the Next Wave Festival or an outsider jazz club like the Stone, but Trinity Church has incredible acoustics, the tones of the marimba bouncing around gorgeously, creating something of an organ effect especially when Nakura was using his soft mallets. Adventurous listeners got a real treat this afternoon. Three cheers for whoever booked this winter’s series here. And there wasn’t a single bus alarm blasting in from outside and disturbing the concert, either!

February 21, 2008 Posted by | classical music, concert, experimental music, Music, music, concert, New York City, NYC Live Music Calendar, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment