Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Cosmopolitan Gershwin-Centric Album From Haerim Elizabeth Lee and Alex Brown

Today’s album is an elegantly fun one. Violinist Haerim Elizabeth Lee and pianist Alex Brown‘s My Time is Now – streaming at Spotify – includes relatively rare duo arrangements of Gershwin music along with works by living composers. The model is the same as Lara St. John and Matt Herskowitz: classical violinist, jazz pianist. But true to their New England Conservatory roots (and Gershwin’s as well), these two like to improvise. They do that a little in a jaunty take of It Ani’t Necessarily So and a lot in Summertime, Brown building an enigmatic reflecting pool until Lee brings in the blues.

Most of the Gershwin arrangements (and frequent embellishments) are by his longtime violinist pal Jascha Heifetz. The Three Preludes have jaunty ragtime-flavored tradeoffs bookending a slow, somber, lyrical stroll. The duo allude to but never quite hit a bluesy strut with A Woman Is a Sometime Thing.

Their take of Bess, You Is My Woman is aptly fond, quite a contrast with the plaintive gravitas of My Man’s Gone Now. The duo bridge both those moods in Tempo Di Blues.

Short Story, a rarity, is a mashup of two early, Dvorak-influenced Gershwin miniatures, Lee’s swoops and dancing lines contrasting with Brown’s steady calm. The condensed version of An American in Paris is a playground for the two musicians, from coy exchanges to gentle rapture and an unexpected steely intensity. The album also includes three arrangements by Brown: Embraceable You, reinvented as a rather hazy nocturne; a High Romantic version of Sleepless Night; and an achingly vivid interpretation of a late work, Violin Piece to close the album.

The more recent material is hit and miss. The atonalities in Patrick Harlin‘s Tbt seem jarringly miscast in this otherwise allusively Gershwinesque, vamping prelude. Lee sails and stabs in Ellen Taaffe Zwilich‘s acerbic Fantasy For Solo Violin and Michael Daugherty‘s kinetic, distantly Appalachian-tinged Viva For Solo Violin, neither of which sound anything like Gershwin. William Bolcom’s Graceful Ghost comes across as a Scott Joplin-ized bolero.

Fun fact: this is the debut recording made with George Gershwin’s personal 1933 Steinway, now housed at the University of Michigan after sitting dormant for decades in a Manhattan apartment

August 15, 2020 Posted by | classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Wild, Astonishing Show in an Uptown Crypt by Lara St. John and Matt Herskowitz

By the time Lara St. John and Matt Herskowitz had finished their first number – an unpredictably serpentine Macedonian cocek dance arranged by Milica Paranosic – the violinist had already broken a sweat and was out of breath. That St. John and her pianist bandmate could maintain the kind of feral intensity they’d begun with, throughout a concert that lasted almost two hours in a stone-lined Harlem church crypt, was astounding to witness: a feast of raw adrenaline and sizzling chops.

There are probably half a dozen other violinists in the world who can play as fast and furious as St. John, but it’s hard to imagine anyone with more passion. A story from her early years as a seventeen-year-old Canadian girl studying in Moscow, right before the fall of the Soviet Union, spoke for itself. Determined to hear Armenian music in an indigenous setting, she and a couple of friends made the nonstop 36-hour drive through a series of checkpoints. “I’m Estonian,” she she told the guards: the ruse worked.

Although she’s made a career of playing classical music with many famous ensembles, her favorite repertoire comes from Eastern Europe and the Middle East. This program drew mostly from the duo’s 2015 album, sardonically titled Shiksa, new arrangements of music from across the Jewish diaspora. The night’s most adrenalizing moment might have been St. John’s searing downward cascade in John Kameel Farah’s arrangement of the Lebanese lullaby Ah Ya Zayn, from aching tenderness to a sandstorm whirl. That song wasn’t about to put anybody to sleep!

Or it might have been Herskowitz’s endless series of icepick chords in Ca La Breaza, a Romanian cimbalom tune set to a duo arrangement by Michael Atkinson. Herskowitz is the rare pianist who can keep up with St. John’s pyrotechnics, and seemed only a little less winded after the show was over. But he had a bench to sit on – St. John played the entire concert in a red velvet dress and heels, standing and swaying on a 19th century cobblestone floor.

Together the two spiraled and swirled from Armenia – Serouj Kradjian’s version of the bittersweet, gorgeously folk tune Sari Siroun Yar – to Herskowitz’s murky, suspenseful, dauntingly polyrhythmic and utterly psychedelic rearrangement of Hava Nagila, all the way into a bracingly conversational free jazz interlude. They also ripped through the klezmer classic Naftule Shpilt Far Dem Reben, a Martin Kennedy mashup of the Hungarian czardash and Liszt’s Hungarian Rhapsody, and an elegant Kreisler waltz as the icing on the cake.

These Crypt Sessions, as they’re called, have a devoted following and sell out very quickly. Email subscribers get first dibs, and invariably scoop up the tickets. So it’s no surprise that next month’s concert, featuring countertenor John Holiday singing Italian Baroque arias, French chansons and a song cycle by African-American composer Margaret Bonds, is already sold out. But there is a waitlist, you can subscribe to the email list anytime, and the latest news is that the series will be adding dates in another crypt in Green-Wood Cemetery in the near future.

For anyone who might be intimidated by the ticket price – these shows aren’t cheap – there’s also abundant food and wine beforehand. This time it was delicious, subtly spiced, puffy Syrian-style spinach pies and vino from both Italy and France, a pairing that matched the music perfectly. Although to be truthful, barolo and spinach pies go with just about everything musical or otherwise.

March 19, 2018 Posted by | classical music, concert, folk music, gypsy music, jazz, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Resonant Nocturnes and Lively Solo Pieces from Matt Herskowitz

Pianist Matt Herskowitz’ new solo concert album, Upstairs, captures a November, 2011 gig at Montreal’s popular Upstairs Bar & Grill. It has a similar lyricism and gleam as Fred Hersch’s Alone at the Vanguard album from a couple of years ago, albeit with more of a third-stream flavor. It’s a mix of nocturnes and energetic, upbeat material imbued with equal parts classical precision and Herskowitz’ signature improvisational flair and humor.

Amid the crepuscular glimmer and the hjinks here are two showstoppers. The first is a meticulously nuanced solo piano arrangement of Dave Brubeck’s  Dzienkuye, a standout track from the late third stream icon’s Jazz Impressions of Eurasia album. Somberly neoromantic, Herskowitz takes it up on a lively and lushly dancing note before a rapt, starlit interlude and then a triumphant outro – it’s no surprise that Brubeck gave Herskowitz the thumbs-up for this.

The quiet, Satie-esque surrealism of Waltz in Moscow builds more eerily and bluesily, veering between those idioms with a vividly pervasive unease. By contrast, Michel Pettruciani’s Cantabile juxtaposes jaunty, often rapidfire ragtime with a middle interlude that more accurately reflects the title. Herskowitz’ dreamy take of  Schumann’s Traumerei reminds that he’s just as good at classical as jazz, while an instrumental version of Bella’s Lament – from the the play Bella, the Colour of Love, about Marc Chagall and his wife – reverts to a familiar trajectory from brooding neoromanticism toward a more upbeat narrative.

Herskowitz plays his famous Bach a la Jazz (from the film Les Triplettes de Belleville) like the lark it was to begin with, when he sent the playful knockoff of Bach’s C Minor Prelude from the Well-Tempered Klavier along with a lot more serious stuff to the film’s musical director. The album ends with rousing, impressively hard-hitting, expansive takes on Gershwin’s But Not for Me and I’ve Got Rhythm. It’s out now on Justin Time.

January 19, 2013 Posted by | classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment