Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Colin Stetson Hauntingly Reinvents an Iconic Eulogy For the Victims of Genocide

What’s more Halloweenish than the arguably most evil event in human history? Friday night at the World Financial Center, saxophonist Colin Stetson led a twelve-piece jazz orchestra through his inventive, intensely immersive original arrangement of Henryk Gorecki’s third Symphony, better known as the “Symphony of Sorrowful Songs.” The Polish composer dedicated it to victims of the Holocaust and World War II; the 1992 recording by the London Sinfonietta with soprano Dawn Upshaw remains one of the very last classical recordings to sell a million copies worldwide.

Stetson pointedly remarked before the show that he’d remained true Gorecki’s original melodies, beyond extending or sustaining certain climactic passages, “Amplified for these times.” That ominousness rang especially true right from the start. The main themes are a solemn processional and a round of sorts, both of which rose to several mighty crescendos that were far louder than anything Gorecki ever could have imagined.

Spinning his axes – first a rumbling contrabass clarinet, then his signature bass sax and finally an alto – through a pedalboard along with his looming vocalese, Stetson anchored the dense sonic cloud. Bolstering the low end on multi-saxes and clarinets were Matt Bauder (of darkly brilliant, psychedelic surf rockers Hearing Things) and Dan Bennett, along with cellist Rebecca Foon and synth players Justin Walter and Shahzad Ismaily. Violinists Amanda Lo and Caleb Burhans were charged with Gorecki’s most ethereal tonalities, while guitarists Grey Mcmurray and Ryan Ferreira got a serious workout, tirelessly chopping at their strings with endless volleys of tremolo-picking. It’s amazing that everybody got through this without breaking strings.

The addition of Greg Fox on drums resulted in an unexpected, sometimes Shostakovian satirical feel, adding a twisted faux-vaudevillian edge to a section of the second movement. Stetson’s sister Megan ably took charge of the Upshaw role with her dramatic but nuanced arioso vocal stylings. After the smoke had risen and fallen and risen again across the battlefield, the air finally cleared, an apt return to the stillness and meditative quality of the original score, matching the guarded optimism of the ending as much as the group had channeled the grief and muted anguish of the rest of the work. One suspects the composer – who toiled under a repressive Iron Curtain regime for much of his life – would have approved.

You’ll be able to hear this when the performance airs on John Schaefer’s New Sounds Live on WNYC, most likely early in November.

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October 17, 2017 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Brian Carpenter Resurrects Obscure Jazz Treasures from the Gatsby Era

Hothouse Stomp, the new album by Brian Carpenter’s Ghost Train Orchestra, captures a magical demimonde in American music from between roughly 1928 and 1931. Forget for a minute that by transcribing and arranging eleven now-obscure songs from that era, Carpenter has rescued them from the even smaller demimondes of 78 RMP record collectors and musicians who still play this kind of stuff. First and foremost, these rapidfire gems from Harlem and Chicago are some of that era’s coolest and most controversial party music, the P-Funk or hip-hop of that time. Kids danced to it until their feet hurt, and now so can you even if you can’t afford a Victrola or any those old 78s which now sell for ridiculous prices. On one level, many of the songs here have a quaintly frantic Keystone Kops vibe and a droll wit, but they also have a level of sophistication that far surpasses most of the era’s pop music. Duke Ellington and Jelly Roll Morton are the big names that everybody remembers, but at the top of their game Charlie Johnson, Tiny Parham and Fess Williams were just as good. Carpenter’s imaginative new charts pay homage to the originals while freeing them from the narrow time constraints of a 78. The band here plays them joyously, sometimes almost conspiratorially: Carpenter on trumpet, harmonica and vocals on one number; Dennis Lichtman on clarinet; Andy Laster on alto sax; Matt Bauder on tenor and alto sax and clarinet; Curtis Hasselbring on trombone; Jordan Voelker on viola and singing saw; Mazz Swift on violin and vocals; Brandon Seabrook on banjo; Ron Caswell on tuba and Rob Garcia on drums.

Carpenter opens the album with a big, dramatic harmonica crescendo and then they’re off. Mojo Strut, by Chicago-based Tiny Parham and His Musicians, has an brooding Ellingtonian minor-key intensity under its bouncy beat but also a drum break that’s practically Spike Jones, and some crazed conversation between the saxes at the end. With its lush strings beneath the romping tune, Stop Kidding, originally done by Harlem band McKinney’s Cotton Pickers, blends serious and silly in the span of barely two and a half minutes. Another Cotton Pickers number, Gee Baby Ain’t I Good to You (a popular staple of the oldtimey circuit), gets more of a New Orleans vibe with a good-natured alto solo, and matching vocals from Swift. Voodoo, by Parham, goes for a wary Black and Tan Fantasy feel with some quiet sizzle from the banjo on the way in and Voelker’s theremin-like saw building the atmosphere to somewhat crazed and dazed layers of horns. Harlem pianist Charlie Johnson’s Paradise Orchestra’s Blues Have Sure Got Me has a similar minor-key restraint, with the saw oscillating eerily behind Swift’s hushed, wounded voice.

A casually soulful, trombone-fueled, practically five-minute midtempo version of Johnson’s Hot Bones & Rice foreshadows how this stuff would morph into swing and dixieland. But enough of the intricacies of the music – as fun as it is to blast on the ipod, just try sitting still to the triumphantly swirling clarinet on Dixie Stomp, the lickety-split Lucky 3-6-5, the pensive sway of The Boy in the Boat, or Harlem bandleader Fess Williams’ seemingly calypso-flavored Slide, Mr. Jelly, Slide. They wrap up the album with a warm, summery Johnson tune, the surprisingly titled Hot Tempered Blues. If this often deliriously fun album piques your curiosity, some (but not all) of the originals can be streamed at the irreplaceable redhotjazz site if you have Real Audio.

March 15, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment