Two Contrasting Albums of High Notes

The American Modern Ensemble’s recording of Robert Paterson’s Star Crossing was one of last year’s most enjoyable albums, a noir film for the ears. Right now the eclectic composer/percussionist is about to unleash a suite about former New York Mets star and suspected steroid juicer Mike Piazza. Sandwiched between those two works is the Book of Goddesses, which is essentially his Pictures at an Exhibition, a bright, rippling, generally upbeat theme and variations which takes its inspiration from illustrator Kris Waldherr’s Book of Goddesses. Rather than being a depiction of female archetypes, Paterson’s intent here is to employ a vast palette of motifs from all over the globe to breathe sonic life into a series of pictures from the book. Eclectic concert harpist Jacqueline Kerrod is the central performer here, whether in the trio Maya, with Sato Moughalian on flutes and John Hadfield on percussion; the duo Clockwise, with violinist Marc Uys; or the American Modern Ensemble, with Moughalian plus violist Danielle Farina. The compositions are more rambunctious, less delicate than this instrumentation might imply, a series of interwoven variations on themes reflecting the origin of the goddesses themselves – or not. For example, the Chinese fertility goddess Xi Wang Mu, if this is to be believed, has some Bollywood in her – and santeria goddess Oya is smartly introduced by a bolero. Maybe by design, maybe not, the composer whose work this collection most closely resembles is Bollywood legend S.D. Burman.

The opening overture is titled Sarasvati – the Hindu goddess of knowledge, whose portrait is included in the album’s lavish cd booklet along with the rest of Waldherr’s pantheon. Rippling Chinese-inflected ambience gives way to a Bollywood theme which then goes north again, followed by Aphrodite, which is essentially an acoustic take on Greek psychedelic rock (think Annabouboula or Magges) – not exactly what you’d expect from a chamber music trio, with a rhythmic pulse and catchy melodicism that has become Paterson’s trademark. A swirling Irish reel named after the Celtic goddess Brigit is followed by cleverly polyrhythmic interpolations of previous themes, dreamy ethereality, bouncy Mexican folkloric inflections, that Nigerian bolero, and a balletesque, vividly contrasting number titled Yemaya, where the percussion comes to the forefront against Moughalian’s graceful flute.

There are also two companion pieces here. Freya’s Tears is a triptych building from pensive spaciousness, to mysterioso ripples, to echoes of a baroque minuet and then delicate Middle Eastern allusions. The concluding work, Embracing the Wind, a portrait of a runner who seems more of a fugitive than an athlete, harks back to the ominous unease of Star Crossing. On one hand, there’s a “look, ma, I’m writing Indian music now” feel to some of this, but it’s less showoff-y than simply diverse: clearly, Paterson listens widely and has a passion for the global styles he’s so enthusiastically embraced. Play this loud and it becomes party music: play it softly and it makes for good late-night ambience

Where the Book of Goddesses is lively and animated, Due East’s Drawn Only Once: The Music of John Supko is often blissfully dreamy and nocturnal. Flutist Erin Lesser and percussionist Greg Beyer join forces to create a frequently mesmerizing, intricate upper-register sonic web. There are two works here. Littoral, a lush, balmy, minutely nuanced seaside scene (including two spoken-word narrations comfortably back enough in the mix that they intrigue rather than drowning out the music) reaches symphonic length and sweep. Crescendoing almost imperceptibly, the flute flutters and then builds playful clusters over long, sustained, hypnotic tones and elegant vibraphone, becomes a dance and then a gamelan anthem that slowly and warmly winds down, a comfortable shoreline at dusk.

The second work, This Window Makes Me Feel, also rises with a slow, hypnotic elegance, growing closer and closer and finally achieving an optimistic resolution, with pianist David Broome and soprano Hai-Ting Chinn adding subtle textures to the mix. It’s a terrific late-night album and comes with an accompanying DVD, not viewed at press time.

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