Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Amir ElSaffar Brings Middle Eastern, Slavic and Jazz Sounds to Otherworldly New Places at Lincoln Center

The annual Jazztopad Festival in Poland is one of Europe’s major jazz events. They advocate fiercely for Polish artists worldwide and commission scores of new works, focusing on blending jazz and contemporary classical sounds. They’ve also been staging events here in New York for the past several years, ostensibly to entice Americans to make the trip over. It’s smart marketing

To open this year’s Manhattan edition at Lincoln Center last night, multi-instrumentalist Amir ElSaffar led a group including Wacław Zimpel on bass clarinet, Ksawery Wójciński on bass and the strings of the Lutosławski Quartet through the Amerrican premiere of his raptly enveloping Awhaal for String Quartet. Seated at the santoor, ElSaffar opened the piece with a bright, enticing riff and slowly unwinding, rippling variations, much like a muezzin’s call or a phrase on his primary instrument, the trumpet.

ElSaffar – one of the most distinctive and unselfconsciously brilliant composers in jazz or anywhere else these days – has made a career blending maqam music from across the Arabic-speaking world with both large and smallscale improvisation, and this performance was typically celestial. Slowly and majestically, the music rose, fluttering violins over portentous, low modalities from the cello and bass: the work of Kurdish compoer Kayhan Kalhor came strongly to mind.

Zimpel added a simple, emphatic fanfare; the strings descended uneasily, micrtonally, ElSaffar singing soulful vocalese in his resonant, melismatic baritone. With the santoor just a hair off, tonally, from the strings, this was where the otherworldly magic really started to kick in. The strings fueled a lilting dance that grew more somber as the volume rose and Wójciński’s off-kilter yet hypnotic rhythm dug in, Zimpel wailing on his clarinet.

The second movement was much more kinetic, with ElSaffar on trumpet, spiky, circular pizzicato from the violins blending with an austere, Egyptian-tinged phrase which became more lush and enveloping over a swaying 6/8 groove. Together the group developed a series of lively echo phrases, part Afrobeat, part Philip Glass.

Using his mute, the bandleader drew the music into a deliciously suspenseful, hypnotically pulsing snakecharmer theme, capped off by a shivery, spine-tingling microtonal cadenza. The group opened the third movement with a bubbling, Appalachian-tinged theme and shifted toward acidic, insistent, blustery Moroccan jajouka, drawing a raucous round of applause from what had been a silent, rapt crowd.

The tension grew toward breaking point as the fourth movement and its overlays from the strings gathered steam, the drifting tonalities taking on more of an Indian edge. A hazy pastoral recede and rise evoked the tone poems of Rachmaninoff as much as Hindustani ghazals, ending hushed and prayerful. Obviously, with the amount of improvisation going on, one can only wonder what the piece will sound like next time out.

ElSaffar’s next gig playing this material is a free performance tomorrow, Saturday, Sept 28 at 11 PM at the Hyde Park Jazz Festival in his hometown Chicago. In Poland, festivities begin at the Jazztopad Festival on Nov 15. And the next free show at the Lincoln Center atrium space on Broadway just north of 62nd St. is Thurs, Oct 3 at 7:30 PM with Chadian electronic group Afrotronix and electrifying Palestinian hip-hop/reggae/habibi pop band 47soul. If you’re going, get there as early as you can becuuse this one will sell out fast

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September 27, 2019 Posted by | avant garde music, concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

High-Voltage Intensity and a Stunning Surprise from Cellist Kian Soltani and Pianist Julio Elizalde at Lincoln Center

“We’re going to do the slow movement from the Rachmaninoff Cello Sonata in G minor,” pianist Julio Elizalde told the crowd at the Kaplan Penthouse at Lincoln Center last night. This was the encore. It wasn’t on the program, at least formally. A murmur went through the audience: had the general public know this was going to happen, his debut duo performance with cellist Kian Soltani at this year’s Mostly Mozart Festival probably would have sold out the moment tickets went onsale.

It was at this point where Soltani, who’d played with a stunningly straighttforward, emotionally piercing approach for the previous hour, decided to turn his vibrato loose. Yet the result turned out to be less full-blown angst than persistent, haunting resonance, punctuted by twin peaks where he dug in and went for the windswept poignancy and several bittersweetly elegant exchanges with Elizalde’s eerily floating, perfectly articulated pointillisms.

That all this wasn’t anticlimactic speaks to how compellingly the two had performed the material that was officially on the bill. There were two particular pièces de résistance. The first comprised a triptych from Reza Vali‘s Persian Folk Songs collection. The Austrian-born Soltani explained how this material dovetailed with his dual immersion in both western classical and traditional Iranian music, as a child of expatriates. The wary introduction approximated an opening improvisation, followed by a lost-love ballad, each awash in aching, Arabic-tinged chromatics. To balance thie plaintiveness, the two leapt into a final love-drunk tableau with jaunty, trickily rhythmic abandon.

Soltani’s own solo performance of his Persian Fire Dance, also drawing on folk themes from his heritage, was arguably even more compelling and required considerably more extended technique, from wispy harmonics to a prelude to the mighty coda where he tapped out a beat, essentially playing between the raindrops. In between, he built and then fanned the flames as the firestorm’s waves rose higher and higher.

The two opened with a comfortable, glitteringly faithful take of the Romanticisms of a trio of Schumann Fantasiestucke pieces. Elizalde negotiated the lickety-split cascades of Chopin’s Introduction and Polonaise Brillante, No. 3 with steely focus and a slithery legato, while Soltani attacked the obstacle course of David Popper’s Hungarian Rhapsody with similar aplomb and even more vigor, through innunerable, thorny thickets of staccato sixteenth notes. A sold-out audience had to catch their breath afterward.

July 24, 2019 Posted by | classical music, concert, Live Events, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Brooklyn Rider and Kinan Azmeh Play a Transcendent Coda to a Popular Upper West Side Concert Series

Over the last few years, the mostly-monthly Music Mondays concert series has become an Upper West Side institution. The level of classical talent they’ve been able to lure up to the corner of 93rd and Broadway rivals the programming at Carnegie Hall or Lincoln Center. The final night of this season on May 6, with paradigm-shifting string quartet Brooklyn Rider and haunting clarinetist Kinan Azmeh, was as transcendent as any in recent memory here. And that includes two separate, equally shattering occasions where the East Coast Chamber Orchestra played their towering arrangement of Shostakovich’s harrowing anti-fascist masterpiece, the String Quartet No. 8.

As they’re likely to do , Brooklyn Rider opened the night with a New York premiere, in this case Caroline Shaw‘s Schisma. With equal parts meticulousness and unbridled joy, the quartet – violinists Johnny Gandelsman and Colin Jacobsen, violist Nicholas Cords and cellist Michael Nicolas – stood in a semicircle as they played. Maybe that configuration gave them a jolt of extra energy as they parsed the composer’s development of a series of cell-like phrases, spiced with fleetingly jaunty cadenzas and passages with an unselfconscious, neoromantic attractivness.

The world premiere of Jacobsen’s Starlighter, bolstered by Azmeh’s emphatic drive, was even more fun. The violinist explained to the sold-out crowd that it’s about photosynthesis, which came across as a genuinely miraculous, verdantly triumphant phenomenon. Its deft metamorphosis of riffs within a very traditional sonata architecture made a good pairing with Shaw’s work.

That the concert’s high point was not its centerpiece, a stunningly seamless perrformance of Beethoven’s String Quartet No. 15 speaks to the power of the entire program. Brooklyn Rider’s recorded version has a legato and a stamina that’s remarkable even in the rarified world of those who can play it on that level. But seeing it live drove home just how much of a thrill, and a challenge, it is to play. The contrasts between all the interchanging leaps and bounds and the rapt atmospherics of the adagio third movement, became all the more dramatic.

The highlight of the night was the world premiere of The Fence, the Rooftop and the Distant Sea, Azmeh’s duo piece for clarinet and cello. The composert told the crowd how he’d been inspired to write it from the rooftop of a Beirut building after fleeing his native Syria with his wife. It’s about memory, how it can fade and be reinvented, how tricky those reimagining can be – and how they haunt. Azmeh would look out over the ocean and convince himself that he could see his home turf in the far distance. As most exiles would, he clearly misses it terribly. The introduction had plaintively fluttering echoes of Messiaen’s Quartet for the End of Time;. Later passages, for both the duo and each solo instrument, followed a plaintive trajectory that dipped with a murky, almost macabre cello interlude laced with sepulchral harmonics and ended as a poignant Arabic ballad.

All five musicians closed the show with a deliroius romp through Kayhan Kalhor‘s Ascending Bird. On album, with Kalhor playing kamancheh and joined by Brooklyn Rider, it’s a bittersweet, furiously kinetic escape anthem. Here, Azmeh taking Kahor’s place, it was more stark and resonant, even as the piece’s bounding echo effects and sudden, warily intense riffage coalesced.

Music Mondays’ fall season of free concerts typically begins in late September or early October; watch this space. Brooklyn Rider’s next concert is on May 31 at the Oranjewoud Festival in the Netherlands with legendary singer Anne Sofie von Otter. Azmeh’s next show is May 19 at 2 PM at First Presbyterian Church,,201 S  21st Street at Walnut St in Philadelphia with pianist Jean Schneider.

 

May 17, 2019 Posted by | classical music, concert, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The East West Trio Deliver a Stunning, Haunting, Armenian-Inspired Performance at St. Patrick’s Cathedral

Witnessing organist Marina Omelchenko slowly work her way up through the eerie chromatics of an ancient Armenian lament last night at St. Patrick’s Cathedral was nothing short of sublime. It became even more so when duduk player Oganes Kazarian, situated at the opposite end of the church, joined the somber majesty with his meticulously modulated, mournful phrasing. Throughout the concert, whether playing against the organ, with soprano Tehmine Zaryan, or with both, he employed such a wide-angle vibrato that no matter how horizontal or enveloping the melody got at times, his inflections were always adding an otherworldly sparkle of overtones.

What’s the likelihood of seeing a duduk – the rustic, plaintively woody-toned Armenian oboe – paired with a church organ? Just the premise of the concert was impossible to resist, and for the most part the three individualists of the East West Trio delivered on the promise of such a deliciously textured sound. Kazarian kept his modes muted and reserved throughout a rapt duet with Zaryan toward the end of the performance. When paired with Omelchenko, especially in her arrangements of a handful of Armenian hymns and traditional numbers, he was much more forceful, a brand-new stop in an almighty beast, the church’s Kilgen organ.

Zaryan hit a spine-tingling crescendo at the end of a Schubert aria early on; a concluding Andrew Lloyd Webber ditty was impossible to redeem. But getting there was an often breathtaking rollercoaster ride. Omelchenko began with cinematic and then cantabile Bach and then worked her way to triumph with all the stops out, through the stately power of a Tcherepnin overture. Yet despite all the fireworks, the quieter Armenian melodies were the most hauntingly resonant.

St. Patrick’s has not only a very eclectic series of free organ concerts, typically at 3:15 PM on Sundays, but also an intriguing series of classical performances that often involve the organ in some way. The next one is this Sunday the 27th at the usual time with organist Heitor Caballero playing a diverse program of works by Bruhns, Guilmant, Sebastian Duron and Flor Peeters.

January 25, 2019 Posted by | classical music, concert, Live Events, middle eastern music, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Transcendence and Joy with Souren Baronian’s Taksim at Barbes

Every year here, sometime in December, there’s a list of the best New York concerts from over the past twelve months. Obviously, it’s not definitive – nobody has the time, and no organization has the manpower to send somebody to every single worthwhile concert in this city and then sort them all out at the end of the year.

But it’s an awful lot of fun to put together. Legendary Armenian jazz multi-reedman Souren Baronian has a way of showing up on that list just about every year, and he’ll be on the best shows of 2018 page here, too. This past evening at Barbes, he and his Taksim ensemble – Adam Good on oud, son Lee Baronian on percussion, Mal Stein on drums and Sprocket Royer on bass, tucked way back in the far corner – channeled every emotion a band could possibly express in a tantalizing fifty minutes or so onstage. Surprise was a big one. There were lots of laughs, in fact probably more than at any other of Baronian’s shows here over the past few years. There was also longing, and mourning, and suspense, and majesty and joy.

Baronian came out of Spanish Harlem in the late 40s, a contemporary of Charlie Parker. Considered one of the original pillars of Near Eastern jazz, as he calls it, Baronian immersed himself in both bebop and what was then a thriving Manhattan Armenian music demimonde. In the years since, he literally hasn’t lost a step. Much as he can still fly up and down the valves, and played vigorously on both soprano sax and clarinet, his performances are more about soul than speed and this was typical. Some of his rapidfire rivulets recalled Coltrane, or Bird, but in those artists’ most introspective and purposeful moments. And neither dove headfirst into the chromatics to the extent that Baronian does.

He opened with a long, incisively chromatic riff that was as catchy as it was serpentine – a typical Baronian trait. Good doubled the melody while Royer played terse low harmonies against it, the percussion section supplying a solid slink. Baronian’s command of Middle Eastern microtones is still both as subtle and bracing as it ever was as he ornamented the tunes with shivery unease as well as devious wit.

Throughout the show, he’d often play both soprano and clarinet in the same tune, then put down his horn and play riq – the rattling Middle Eastern tambourine – while other band members soloed. The night’s two funniest moments were where he led them on boisterous, vaudevillian percussion interludes with as many cartoonish “gotcha” moments as there was polyrhythmic virtuosity.

Where Baronian made it look easy, Good really dug in and turned a performance that, even for a guy who’s probably one of the top half-dozen oudists in New York, was spectacular. Brooding, ominously quiet phrasing quickly gave way to spiky, sizzling tremolo-picking, pointillistic volleys of sixteenth notes and a precise articulation that defied logic, considering how many notes he was playing. Getting the oud sufficiently up in the PA system helped immeasurably – oud dudes, take a look at this guy’s pedalboard, for the sake of clarity and a whole lot more.

The night’s best number also happened to be the quietest and possibly the most epic – considering how many segues there were, it sometimes became hard to tell where one tune ended and the other began. Baronian played this one on clarinet, looming in from the foghorn bottom of the instrument’s register and then rising with a misty, mournful majesty. As the song went on, it took on less of an elegaic quality and became more of a mystery score. Royer’s spare, resonant groove, Stein’s elegant rimshots, the younger Baronian’s otherworldly, muted boom and Good’s shadowy spirals completed this midnight blue nocturne.

They picked up the pace at the end of the show, taking it out with a triumphant flourish. On one hand, that Baronian chooses Barbes to play his infrequent New York gigs (he’s very popular in Europe) is a treat for the cognoscenti, especially considering how intimate Brooklyn’s best music venue is. But if there’s anybody who deserves a week at the Vanguard or Jazz at Lincoln Center, it’s this guy.

Watch this space for upcoming Baronian Barbes gigs. In the meantime, Good is playing one of his other many axes, guitar, with slashing, careening heavy psychedelic band Greek Judas  – who electrify old hash-smuggling anthems from the 30s and 40s – tomorrow night, Sept 8 at Rubulad. It’s a lo-fi loft space situation with a Burning Man vibe – fire twirlers, space cake and absinthe could be in the picture. Cover is $10 if you show up before 9; email for the Bushwick address/info.

September 7, 2018 Posted by | concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Phenomenally Tuneful, Catchy New Middle Eastern Jazz Album From Multi-Instrumentalist Gordon Grdina

There’s a consensus among many musicians that if you can play one stringed instrument, you can learn to play them all if you put in the practice time. Gordon Grdina is persuasive proof: he’s as much of a force on the guitar as he is on the oud. And these days, when he’s not on tour, he’s become a welcome addition to the New York jazz scene. He’s got a couple of very different, very enticing gigs coming up. Tonight, June 14 at 8 he’s at Happy Lucky No. 1 Gallery with Marrow, his oud-driven Middle Eastern jazz quartet with Hank Roberts on cello, Mark Helias on bass and Hamin Honari on Persian percussion. Then this Saturday night, June 16 at 8 Grdina leads his more western-inflected guitar band with Oscar Noriega on reeds, Russ Lossing on piano and Satoshi Takeishi on drums at Greenwich House Music School. Cover is $15/$10 stud/srs.

Grdina has new albums with both bands as well. To say that one is edgier than the other is a hard call, attesting to the unhinged intensity the guitar quartet is capable of – especially live. It was pretty hair-raising to catch that latter ensemble doing what was essentially a live rehearsal in the middle of nowhere in Bed-Stuy a few weeks back. Grdina’s latest album with that group, Inroads, is streaming at Bandcamp. The latest Marrow album, Edjeha – Farsi for dragon – isn’t officially out quite yet. And it’s nothing short of extraordinary, genuinely pushing the envelope in terms of how far an artist can take both Middle Eastern maqam music and American jazz.

As Edjeha gets underway, Grdina takes a sparse, incisive approach to the misterioso opening cut, Telesm, almost imperceptibly building to a series of scrambling clusters as Honari keeps a muted, funereal frame drum beat going. Then Roberts builds a plaintive solo as Helias and Honari run a hypnotic groove that eventually hits a triumphant scamper. It’s closer to Levantine classical music than is it to postbop swing.

Helias takes a turn in deliciously suspenseful mode to introduce Idiolect, an insistent, anthemic Middle Eastern jazz epic that veers into waltz time for a bit, both the bassist and cellist having unselfsconscious fun mining the microtones for all the unsettled intensity they’re worth, up to a joyously otherworldly Roberts solo.

Grdina rises out of a broodingly exploratory taqsim to a circling, stabbing theme in the album’s title track, Roberts taking an emphatic, steady solo as the group spin the central riff behind him. The deceptively catchy Bordeaux Bender juxtaposes Grdina’s spare oud against similarly terse bowed strings, intimating at a casual stroll but never quite going there.

The wyrly titled Wayward begins with a darkly haphazard improvisatory interlude before Honari leads the band through a series of grinningly machinegunning motives; then they bustle along with a devious, marionettish pulse, Roberts again jumping at the chance to give it a coda. Grdina’s plaintive intro to Full Circle is a pretty radical contrast, echoed by Roberts; then Grdina completely flips the script with his genial ballad phrasing. The album’s final number is Boubacar, a surrealistic mashup of Mali, boogie and stark 19th century country blues, a shout-out to the great Malian guitarist Boubacar Traore.

Whether you consider all this jazz, Middle Eastern music, both, or a brand-new style that Grdina’s just invented, this is one of New York’s best bands, bar none. And this is one of the half-dozen best albums released this year so far in any style of music.

June 14, 2018 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

A Riveting, Poignant Suite of North African Jazz Nocturnes at Lincoln Center

With the New York premiere of their new Abu Sadiya suite last night at Lincoln Center,the trio of multi-reedman Yacine Boulares, cellist Vincent Segal and drummer Nasheet Waits played what might have been the best single concert of 2018. Methodically and poignantly tracing most of its breathtaking peaks and haunted valleys, the three held the crowd rapt through a constantly shifting series of variations on ancient Tunisian stambeli themes.

Like gnawa, stambeli has origins in ancient sub-Saharan animist music brought north by slaves. Until the Tunisian revolution just a few years ago, it had been suppressed and become largely forgotten. It is stark, hypnotic and has an often otherworldly beauty. And since it relies so heavily on improvisation, it’s fertile source material for jazz.

In the course of working out logistics, Lincoln Center’s Meera Dugal – one of New York’s few genuinely visionary impresarios, who programmed the night – had sent Boulares the Rumi poem Where Everything Is Music. Boulares told the crowd how moved he had been, particularly by the conclusion, Rumi’s ultimate view of music as divine:

Open the window in the centre of your chest
And let the spirits fly in and out

It was clear from the first few somber, mystical washes of sound from Segal, Boulares’ plaintive, spacious soprano sax lines and Waits’ whispery cymbals that everyone was on that same page.

The Abu Sadiya myth may be a prototype for Persephone. As Boulares explained, the moon kidnaps Sadiya; her dad journeys through the desert, then tries to capture the moon by holding a barrel of water under his arm to catch the reflection and then bargain for Sadiya’s return. Beyond resuscitating the spirit of stambeli, Boulares’ intention is to redeem Sadiya herself. “It’s a very masculine story,” he told the crowd – Sadiya is more of a pretext for male heroism than full-fledged character.

As the suite took shape, Segal alternated between spare, trancey arpeggios, sepulchral bowing, ominous modal vamps and frequent detours into propulsive low-register gnawa riffage. Often if was as if he was playing a sintir – no other cellist has such an intense and intuitive grasp of North African music as he does

Throughout the night, Boulares ranged from forlorn, airily resonant phrases to judicious crescendos up to Coltrane-like flurries capped off by the occasional triumphant cadenza. He and Segal often switched roles, from carrying the melody line to running low, hypnotically looping riffs. This was most striking when Boulares switched to bass clarinet, taking over the low end in one of the gnawa-influenced interludes. Behind them, Waits muted his snare and toms, rattled the traps a little, took a couple of misterioso prowls along the perimeter and finally hit the launching pad with a methodically climbing solo where it sounded as if he was playing a couple of congas. It’s rare that a drummer tunes his kit with such attention to the material, particularly as troubled and angst-fueled as this is.

The three, particularly Boulares, used lots of space – and also the reverberating sonics of the Lincoln Center atrium space – mysteriously well  They gave each other just as much breathing room. Contrasting with the distantly phantasmagorical quality of the music – the moon in this myth is a real pierrot lunaire – was how incredibly catchy so many of the central riffs turned out to be. The suite’s second part opened with a very close approximation of the Rick Wright organ motif that opens Pink Floyd’s Shine On You Crazy Diamond. A bit later, Segal’s concentrically arpeggiated circles brought to mind Serena Jost’s melancholy art-rock. And Waits’ subtle shifts in, out of, and around waltz time were delectably fun for listeners as well as his bandmates.

The final segment was a portrait of Sadiya, revisiting the vast sense of abandonment that opened the night but rising with flickers and flares to cast the missing heroine as indomitable, just like her dad. They wound it down to a Saharan expanse of dusky dune ambience at the end.

The trio’s next stop on their current tour is tonight, April 20 at 7:30 PM at the Painted Bride Arts Center, 230 Vine St. in Philadelphia; cover is $20. The next free concert at the atrium space at Lincoln Center on Broadway just north of 62nd St. is also tonight, at 7:30 PM with salsa dura band Eddie Montalvo y Su Orquesta, featuring alums from some of the Fania era’s greatest 1970s Nuyorican bands. The earlier you get there, the better.

April 20, 2018 Posted by | concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , | Leave a comment

Tarek Yamani at Lincoln Center: A Haunting, Ceaselessly Shapeshifting Vision of the Future of Piano Jazz

Playing to a rapt, sold-out, mostly under-30 crowd, Beirut-born pianist Tarek Yamani opened his Lincoln Center concert last night with an a cumulo-nimbus chordal crescendo and then took the band spiraling and rippling through a long, chromatically slashing series of variations on a hundred-year-old Egyptian classical melody. Bassist Sam Miniae danced between the raindrops as drummer Jean John boomed and rattled the rims, Yamani parsing the passing tones in the minor scale for every fraction of intensity he could find. From there the music rose and fell, sometime hypnotic, sometimes with an elegant neoromantic gleam, to a long, insistent peak. It was like witnessing peak-era 70s McCoy Tyner with more Middle Eastern influences.

Yamani’s distinctive style is a confluence of Arabian Gulf khaliji music and American jazz, with a healthy dose of Afro-Cuban groove as well. It’s no surprise that Yamani gravitated toward jazz, considering that khaliji sounds have more African swing than Levantine sway. It wouldn’t be outrageous to call the self-taught pianist and composer Beirut’s (and now New York)’s answer to Vijay Iyer.

Even so, it was impossible to predict how funky the night’s second number, Hala Land – a Nordic Latin Middle Eastern swing prelude of sorts – would get, from John’s irrepressible shuffle as Yamani teased the crowd with an easy resolution he wasn’t going to give in to anytime soon before pinwheeling and then icepicking through a subtly shifting series of Arabic modes. Yamani revealed afterward that although the melody is considered iconically Lebanese, its origins are actually Turkish. “It’s like falafel – it doesn’t really matter,” he grinned.

The night’s third number was an original in 10/8: “If you’d like to count, please do, but do it silent,” Yamani deadpanned. The blend of catchy Afro-Cuban acerbity, Middle Eastern otherworldliness and emphatic, punchy, ceaselessly shifting meters made sense considering that the pianist is also the author of a popular book on polyrhythms. Miniae ran circles and pounced, John gave it bounce and strut.

Ashur – named after the “Egyptian god of sex,” Yamani smiled – was a friendly, methodically crescendoing, wickedly memorable Kind of Blue-style theme and variations that John kicked off hard. Then Yamani completely flipped the script with an expansive take of Lush Life, subtly pushing it further and further toward the Middle East but finally opting for energetic wee-hours postbop lyricism. Then he launched into a tireless, grittily insistent arrangement of paradigm-shifting Egyptian composer Said Darwish’s workingman’s anthem The Melody of the Movers, circling and rippling over the rhythm section’s propulsive swing. 

The trio closed with a cantering detour toward Cuba and then a glisteningly jubilant melody that Yamani explained is claimed by pretty much every culture throughout the Levant. It was amazing how light and seemingly effortless Yamani’s touch remained after all the evening’s exertion.

Auspiciously, this concert was booked not by Lincoln Center but by their Student Advisory Council, whose agenda is to make the world of the arts in New York “a more inclusive and accessible space,” and help discover new talent who might be flying under the radar. Challenged to find an act worthy of the venue, third-year Juilliard percussion student Tyler Cunningham won the competition by suggesting Yamani after seeing the pianist listed on a bill at National Sawdust, where a friend works.  A specialist in symphonic percussion, the personable, articulate Cunningham gravitates toward postminimalist composers like Marcos Balter but has the kind of eclectic taste required in a field where he’s going to be asked to play outside the box more often than not. Cunningham also has a revealing interview with Yamani up at The Score, Lincoln Center’s online magazine.

The next show at Lincoln Center’s atrium space on Broadway just south of 63rd St. is this March 29 at 7:30 PM with Portuguese fado-jazz crooner/guitarist António Zambujo. The show is free; the earlier you get to the space, the better.

March 24, 2018 Posted by | concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, 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

Haunting Lebanese Pianist Tarek Yamani Revisits a Classic New York Concert at Lincoln Center This Friday Night

Suppose you could see the guy who played on the best live bill of 2014 – for free. Would you go? You have that option when Lebanese-born pianist Tarek Yamani plays this Friday, March 23 at 7:30 PM at the atrium space at Lincoln Center on Broadway just south of 63rd St.

Yamani opened a marathon evening of music from across the Middle East at Alwan for the Arts in January of 2014, officially called Maqamfest, known informally as the Alwan-a-thon. Here’s the report originally published here the following day.

“…Yamani kicked off the night with a richly eclectic mix of brooding Middle Eastern themes and blues-infused bop. While he didn’t deliberately seem to be working any kind of overtone series with the piano – it can be done, especially if you ride the pedal – he proved to be a magician with his chromatics and disquieting passing tones. Bassist Petros Klampanis supplied an elegant, terse, slowly strolling low end while drummer Colin Stranahan nimbly negotiated Yamani’s sometimes subtle, sometimes jarring rhythmic shifts. The trio wove a tapestry of gorgeous chromatic glimmer through a couple of romping postbop numbers to a haunting, starkly direct piano arrangement of a theme by Said Darwish, considered to be the father of modern Middle Eastern classical music. The trickiest number in their set was the title track to Yamani’s album Ashur (the Assyrian god of death). Stranahan got the dubious assignment of carrying its cruelly challenging, almost peevish syncopation, but he ran with it and nailed it.”

Yamani has done a lot since then, notably his 2017 Peninsular album, whose influences span from Cuba to Oman.  You can bet this blog will be in the house for the Friday, show which could rank among 2018’s best as well. And it’s free – you just have to get there a little early to get a seat.

March 18, 2018 Posted by | concert, jazz, Live Events, middle eastern music, Music, music, concert, New York City, world music | , , , , , , , , | Leave a comment