Matt Darriau Brings One of His Edgy, Slinky Projects to a Bed-Stuy Gig

One New York artist who was ubiquitous before the lockdown, and whose presence was conspicuously absent during the last fifteen months, is eclectically edgy multi-reedman Matt Darriau. The longtime Klezmatics clarinetist did some outdoor gigs earlier this year; he’s back to the indoor circuit this July 19 at 9 PM at Bar Lunatico, where he’s leading his Yo Lateef project with Santiago Liebson on piano, Peck Almond on trumpet, Arthur Kell on bass and Steve Johns on drums, While the band was conceived to reinvent the work of distinctive jazz bassist Yusef Lateef, lately the group more closely resemble Darriau’s sometimes slashingly Balkan-tinged Paradox Trio.

There’s some pretty lo-fi audio of their most recent Brooklyn gig up at youtube (you’ll have to fast-forward through about the first ten minutes of the band bullshitting before it’s showtime). At this gig, Liebson’s piano got switched out for Max Kutner’s guitar, his unsettled chromatics echoing Brad Shepik’s work in the Paradox Trio. You can watch the group having fun with long, slinky, brooding quasi-boleros, a circling, soukous-tinged flute tune and a triptych where Darriau finally gets to cut loose, switching between Bulgarian gaida bagpipe, tenor sax and clarinet.

He’s gotten plenty of press here over the years, most recently with the Klezmatics, backing cantors Chaim David Berson and Yanky Lemmer at Central Park Summerstage in 2017. The time before that was for a Brooklyn Raga Massive event the previous November, where he spiraled and wafted through a series of Indian carnatic themes with oudist Brandon Terzic.

There was also a December, 2015 Brooklyn small-club gig with a serpentine, Middle Eastern-flavored group he called Du’ud since they had two oud players (Terzic and Brian Prunka). Yet some of the shows Darriau played before then, and didn’t get any press for here, were just as darkly sublime.

There was his Who Is Manny Blanc project, who play the sometimes eerily surfy, sometimes crazily cartoonish music of Manny Blanc, whose 1961 album Jewish Jazz is impossible to find and iconic among diehard crate-diggers. There were also a couple of more Balkan-flavored gigs with his Gaida Electrique band, where he focuses more on the chromatically slashing bagpipe tunes. That takes us all the way back to 2015. All this is to say that if you haven’t been watching the guy ripping it up onstage since then, there’s no time like the present,

You could also call this a long-overdue mea culpa for not having covered all those shows, That’s what happens sometimes when you go out intending to focus on the music, run into friends at the bar, and it’s all over. What a beautiful thing it is that here in New York, after sixteen months of hell and deprivation, we finally have that choice again. Let’s never lose it.

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Hall of Fame Lineups From the New England Conservatory at the Jazz Standard on March 19 and 20.

THIS CONCERT IS CANCELLED

Every so often the New England Conservatory – Boston’s counterpart to Juilliard – rounds up some of the formidable talent who’ve passed through their jazz program, arguably the first at one established at any major American music school. This year the celebration is at the Jazz Standard on March 18 and 19.

The NEC All-Stars quintet is bound to generate a lot of fireworks. The two-sax frontline of Miguel Zenon on alto and Donny McCaslin on tenor is incendiary by itself. Fred Hersch, one of the great lyrical pianists of the past couple of decades is joined by Jorge Roeder – who’s as at home with tango or other latin sounds as he is postbop – on bass, and Richie Barshay, drummer for the Klezmatics. It’s seldom that you get to see such vast stylistic influences on the same stage; cover is $30.

Then on the 20th there’s a rare New York performance by singer Dominique Eade, whose work with noir piano icon Ran Blake is spine-tingling (and often bone-chilling). Hersch is the rare extrovert pianist who absolutely loves playing with singers, so this is a serendipitous pairing. As with the show on the 19th, they’re less likely to play their own stuff than, say, Monk and other mutual favorites, but you never know. Cover is steep for this one, $35, but remember, at the Jazz Standard there’s no minimum.

For anybody looking for material to spin (virtually or otherwise) in advance of the show, how about Hersch’s most recent release, a six-disc retrospective streaming at Spotify and comprising his long-running trio’s most recent releases, from Whirl, to Alive at the Vanguard. Hersch has gotten into the habit of releasing anything he happens to have in the can which sounds good (which is A LOT). Several of these records, including Sunday Night at the Vanguard and Live in Europe have been covered here over the years.

Roger Davidson Hits the Klezmer Road

Whether Roger Davidson knows it or not, he’s just released an elegant gypsy punk record. It’s not likely that the eclectic composer, whose previous work spans the worlds of jazz and tango nuevo, launched into his new album On the Road of Life with that idea in mind. But that’s pretty much what he ended up with. “Pretty much,” because there are no distorted guitars or pummeling drums here – and also because Davidson’s intent was to write an original album of klezmer tunes. Whether this is klezmer, or Balkan music, or gypsy music is really beside the point – whichever way it falls stylistically, it’s a collection of memorably simple themes bristling with the scary/beautiful chromatics and eerie minor keys common to all those genres. Here Davidson is backed by what he calls the Frank London Klezmer Orchestra, an eclectic group with the great klezmer trumpeter alongside another klezmer legend, Andy Statman on mandolin and clarinet, plus Klezmatics drummer Richie Barshay, Avantango bassist Pablo Aslan and Veretski Pass accordionist/cimbalom player Joshua Horowitz.

Some of these are joyous romps. Freedom Dance has solos all around and some especially rapidfire mandolin from Statman. Dance of Hope is sort of a Bosnian cocek with mandolin and clarinet instead of blaring brass, and a tune closer to Jerusalem than to Sarajevo. There’s Harvest Dance, based on a crescendoing walk down the scale; Water Dance, with an absolutely ferocious outro, and Hungarian Waltz, which in a split second morphs into a blazing dixieland swing tune fueled by London’s trumpet. Yet the best songs here are the quieter ones. The title track is basically a hora (wedding processional) that builds gracefully from a pensive, improvisational intro to a stately pulse driven by Aslan’s majestic bass chords. There’s also Equal in the Eyes of God, which reaches for a rapt, reverent feel; Sunflowers at Dawn, which klezmerizes a famous Erik Satie theme; The Lonely Dancers, a sad, gentle Russian-tinged waltz, Statman’s delicate mandolin vividly evoking a balalaika tone; and the epic, nine-minute Night Journey, glimmering with suspenseful, terse piano chords, tense drum accents, allusive trumpet and finally a scurrying clarinet solo.

Davidson may be a limited pianist, but he’s self-aware – his raw chords and simple melody lines only enhance the edgy intensity of the tunes here. That he’s able to blend in with this all-star crew affirms his dedication to good tunesmithing, keeping things simple and proper, as Thelonious Monk would say. Fans of moody minor keys, gypsy music and the klezmer pantheon will find a lot to enjoy here.

Album of the Day 8/14/11

Every day, our 1000 best albums of all time countdown continues all the way to #1. Sunday’s album is #534:

New York City: Global Beat of the Boroughs

This 2001 Smithsonian Folkways release may be a long series of ludicrously bad segues, but multicultural party playlists don’t get much better than this. It’s predominantly latin and Balkan music played by obscure but frequently brilliant expatriate New York-based groups, although other immigrant cultures are represented. While the tracks by Irish group Cherish the Ladies and klezmer stars Andy Statman and the Klezmatics are all excellent, it’s surprising that the compilers couldn’t come up with the same kind of obscure treasures they unearthed from Puerto Rican plena groups Vienta de Agua and Los Pleneros de 21; or Albanian Besim Muriqi’s scorching dance tunes; or stately theatrical pieces by the prosaically titled traditional groups Music From China and the Korean Traditional Performing Arts Association. There are also rousing Greek and Bulgarian romps from Grigoris Maninakis and Yuri Yunakov, respectively; a soulful suite of Lebanese songs by crooner Naji Youssef; and even a spirited if roughhewn version of the Italian theme for the Williamsburg “Walking of the Giglio,” a big wooden tower paraded through the streets by a large troupe of hardworking men every August, among the 31 fascinating tracks here. Mysteriously AWOL from the usual sources for free music, it’s still available from the folks at the Smithsonian.

Album of the Day 9/9/10

Happy 5771 everybody! Every day our 1000 best albums of all time countdown continues all the way to #1. Thursday’s album is #873:

The Klezmatics – Possessed

The most celebrated if not exactly the first of the klezmer revival bands, the Klezmatics brought a gentle but firm punk rock sensibility to ancient Jewish songs that frequently got them in hot water in more conservative circles but won them a wide following outside the klezmer shtetl. This 1997 album is their darkest, a mix of gypsy-inflected dances, jazzy improvisation and a long suite which served as the score to the popular Tony Kushner drama, The Dybbuk, based on the famous ghost story of the same name. There’s a mournful forebearance to most of this, although the group raise the ante when least expected, particularly on a rousing, klezmer-jamband ode to marijuana: every day is Shabbos when you’re stoned. The individual Klezmatics: reed player Matt Darriau, drummer David Licht, star trumpeter Frank London, bassist Paul Morrisett, frontman/accordionist Lorin Sklamberg and fiery violinist Alicia Svigals all went on to do great things as solo artists and sidemen/women after the band broke up; they recently reunited, with a Brooklyn show coming up on 9/19 at Galapagos. This album was reissued in 2005 as a twofer with their far more upbeat debut Jews with Horns. Here’s a random torrent.

CD Review: Frank London/Lorin Sklamberg – Tsuker-zis

Perhaps the greatest thing about Jewish music is that it’s so well-traveled. In a sense, it could be said that it embodies the best of all worlds. The new collaboration between the “legendary trumpeter of the klezmer underground,” as one recent concert flyer described Frank London, and former Klezmatics accordionist/frontman Lorin Sklamberg certainly could be categorized as such. With contributions from ex-Psychedelic Fur Knox Chandler on guitar and effects, Ara Dinkjian adding gorgeously clanging, plinking and plunking textures on Middle Eastern lutes including the oud, saz and cumbus, and world music percussionist Deep Singh on tabla and dhol, the cd – recently out on Tzadik – alternates between boisterous and haunting reinterpretations of traditional Jewish liturgical music. Is this klezmer? Folk music? Jazz? Rock? Well, it’s all of the above: the melodies are as rustic as would be expected, but the playing, the arrangements and the production all draw deeply on what’s happened in the hundreds or maybe even thousand years since these tunes first saw the light of day. This is a beautiful and plaintive album and it also really rocks from time to time.

A couple of the tracks here turn worship into slinky, undulating Levantine dances, bouncing along on the beat of the tabla. Another couple have an upbeat dance feel and a Celtic tinge to the melodies. Still a couple more could be called shtetl ska, even if they go back long before ska was invented. The album’s twelfth track, a lament about being overrun by invaders, showcases London’s facility for channeling diverse moods both with and without a mute. After that, Sklamberg gets to breathlessly rattle off a Hasidic acrostic for a lyric while the band scrambles to keep up – and then Chandler throws in a big blazing arena rock solo where London then picks up the melody again, seamlessly  yet exhilaratingly as middle-period ELO would do. The ambient final cut nicks the intro from Pink Floyd’s Shine On You Crazy Diamond, an expansive showcase for the whole band and especially Sklamberg’s rapt, incantatory vocals.

London’s playing is characteristically soulful, whether swaying through a sly muted passage or with half-balmy, half-ecstatic clarity. It’s also particularly pleasant to see how well Sklamberg’s voice has aged: it’s lower than it was in his Klezmatics days, the petulance of that era replaced with an unaffected, very welcome gravitas. This album ought to appeal to a vastly wider audience than your typical collection of traditional Jewish ngunim, while providing a decisive answer to the age-old question, does Rabbi Saul of Mozditz really rock? Answer: an emphatic ja.