Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Ran Blake Headlines a Transcendent NEC Jazz Bill at Symphony Space

The New England Conservatory’s New York celebration of forty years of their contemporary improvisation program wound up Saturday night at Symphony Space with Ran Blake alone at the piano. It seemed that the stage lights had gone cobalt blue by then – or maybe that was just synesthesia. The concert’s concluding number was Memphis, a somber Martin Luther King elegy on which Blake intermingled gospel allusions and otherworldly close harmonies, both foreshadowed and then cruelly cut short by a gunshot staccato. It was the essence of noir, both a celebration of life and a grim reminder of everything that threatens what we hold dear. It made a fitting ending for an often exhilaratingly eclectic, emotionally vivid bill featuring NEC alumni and their bandmates from across the generations.

Frank Carlberg and his vocalist wife Christine Correa got the night started with a downtown take on Abbey Lincoln. The Claudia Quintet – drummer John Hollenbeck with bassist Chris Tordini, saxophonist Chris Speed, vibraphonist Matt Moran and accordionist Ted Reichman slowly coalesced into a brightly sweeping, occasionally carnivalesque groove. Their set, the night’s longest, moved from a loping Ethiopian rhythm through lowlit Twin Peaks vibraphone/accordion interludes, niftily polyrhythmic shuffles and finally an animatedly squonking crescendo from Speed.  Fiddler Eden MacAdam-Somer romped solo through an Appalachian flatfoot dance as well as more eclectic, technically dazzling original settings of Rumi poems that sometimes reminded of Carla Kihlstedt’s work.

Pianist Anthony Coleman led a quartet with Ashley Paul on sax and clarinet, Sean Conly on bass and Brian Chase on drums through a partita that alternated between brooding, cantorially-tinged stillness a la Sexmob, and variations on a persistent, uneasily rhythmic circular vamp. Clawhammer banjoist Sarah Jarosz followed with an aptly austere version of a Gillian Welch tune and then teamed up Blake for some playfully biting push-pull on an absolutely lurid version of Abbey Lincoln’s Tender As a Rose, leaving absolutely no doubt that this was a murder ballad.

In what could easily have been a cruel stroke of programming, John Medeski was handed the impossible task of following Blake solo on piano: that he managed not only to not be anticlimactic but to keep the intensity at such a towering peak speaks to how much he’s grown in the past ten years, beginning with an icily otherworldly salute to Blake’s misterioso style and then charging through an expansive, defiantly individualistic, hard-hitting, sometimes wryly messy blend of purist blues, hypnotic eastern resonance, gospel and stride piano. It seemed to sum up everywhere Medeski has been other than with his wildly popular early zeros jamband: he’s at the high point of a career that probably hasn’t reached its summit yet.

Dominique Eade then took the stage solo and swung fearlessly through a number that lept from a torchy nuance to wryly animated, scatting leaps and bounds before being joined by Blake, in a second taking the energy to redline with a mini-set highlighted by a gleaming, rain-drenched, hauntingly cinematic take of The Thrill Is Gone (from their transcendent duo album from a couple of years ago). Christelle Durandy then made the most of her cameo on an unexpectedly verdant, breathily dynamic duo with the iconic pianist who never met a song or a a singer he couldn’t elevate to new levels of white-knuckle intensity. That he ran the NEC improvation program for so long – and still takes part in it – speaks for itself and for the institution.

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March 25, 2013 Posted by | concert, folk music, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Another Good Reason for the NEC to Celebrate

The New England Conservatory – the Juilliard of Boston – is always finding reasons to celebrate. What a bunch of party animals. This year their excuse is the 40th anniversary of the school’s contemporary improvisation program, springboarding a series of New York concerts that continue tonight starting at 7 at Barbes with Matt Darriau, Frank London, Ashley Paul, Mat Maneri and many others and winding up with an extravaganza on March 23 at 8 at Symphony Space with an enticingly eclectic jazz bill including Ran Blake, Dominique Eade, John Hollenbeck’s Claudia Quintet, Sarah Jarosz and Anthony Coleman among others.

Last night at Symphony Space, the theme was Today’s Jewish Music: From NEC to the Downtown Scene, which is very specific. For years, a thriving  klezmer/jazz community here relied heavily on the NEC for a wealth of talent, most of which is still active. Most of the NEC alumni artists on this particular program, including pianists Coleman and Hankus Netsky, multi-reedmen Darriau, Greg Wall and Marty Ehrlich, violinist Deborah Strauss, guitarist/cantor-in-training Jeff Warschauer, bassist Jim Whitney and drummer John Mettam would have packed Tonic ten years ago.  Clarinetist Michael Winograd and chanteuse Lily Henley represented for newer generations, the former most notably with a thrilling, trilling, rapidfire solo clarinet improvisation and the latter with a torchily nuanced, murky duo with Coleman on a klezmer soul ballad.

A quintet that also included Darriau, Ehrlich and Winograd opened with a long, lingering, Steven Bernstein-ish partita on an old cantorial theme fueled by Coleman’s noirisms and Mettam’s artful shifts from clave to waltz time. They closed with a moody tango that kicked off with an intricately energetic, spiraling duel between Darriau (now on bass clarinet) and Ehrlich. In the night’s wildlest improvisational moment, Ehrlich’s spine-tingling microtonal clarinet swirls paired off against Coleman’s deviously resistant staccato. The  Strauss-Warschauer Duo made elegant acoustic art-rock out of the Jewish prayer for the new month, then a little later Warschauer sang an affectingly aching, irony-drenched solo version of the Mordechai Gebirtig klezmer classic Avremi the Pickpocket. Coleman reprised it and reshaped it as a haunting Middle Eastern vamp and then jaunty hi-de-ho jazz. One suspects that many of these suspects will be back at Symphony Space in a couple of days: tickets are still available.

March 21, 2013 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The NEC Jazz Faculty All-Stars at the Jazz Standard, NYC 3/24/10

To steal a line out of the Jim Macnie fakebook (he gets a shout-out because he’s on the side of the angels), this was the coolest faculty meeting you could imagine. The New England Conservatory’s jazz faculty distinguish themselves in a lot of ways but most of all because they maintain fulltime live performance schedules. As trumpeter John McNeil, the group’s class clown, sardonically told the sold-out house at the Jazz Standard last night, a NEC gig assures that you always have the means to pursue others! Which might explain why this gig was a clinic, if hardly an academic one. The camaraderie between McNeil – whose compositions dominated the set list – alongside tenor titan George Garzone, pianist Frank Carlberg, bassist Cecil McBee and sub drummer Richie Barshay (Billy Hart couldn’t make it) is comfortable and intiutive, facilitating a clinic in effective listening, trusting one’s bandmates and seeing that trust richly rewarded. It’s not likely that anyone shopping music conservatories was in the crowd, but if they had been, they were either sold or holding out for a bargain that doesn’t exist.

They opened with segueing McNeil numbers, Nanotechnology into Alone Together, mysterioso modal into catchy hook into swing featuring the first of several fast, fluid Garzone solos, McBee going in the opposite direction with lots of space. McNeil got a lot of laughs telling the crowd how he’d named another tune, CJ, after a woman he was pursuing. In retrospect, he should have known that you have to try a little harder than just a blues if you want to impress a woman. Something else that McNeil didn’t know when he wrote it thirty-one years ago, almost to the day: you don’t write the blues before the woman, you write the blues after. But it gave Carlberg the first of many foundations to enigmatically warp the time as he would all night, McBee taking it out quietly, tersely and eerily.

A homage to Piaf, whom McNeil had a crush on as a kid, built from plaintive, insistent piano to gently pulsing, Ray Brown-esque bass, Garzone eventually going major on minor to enhance the somber intensity. Frank Carlberg’s composition Consternation (after the Bird tune A Confirmation) driven by some utterly marvelous Barshay cymbal work, saw the band playfully interjecting themselves into the drum solo. The night’s last number was the best, a Dave Liebman composition that nobody could remember the title to, but they played the hell out of it – a murky modal masterpiece with scurrying rhythm section, icy Carlberg minimalism and more rapidfire Garzone sharpshooting, McNeil avoiding the murk at first but eventually plunging right in as the rhythm section took it all the way up with a stomp that built thisclose to complete ferocity, McBee again leading it out on a quietly moody note. This show was part of NEC Jazz Week in NYC, an allstar series of concerts continuing tomorrow through the big blowout at B.B. King’s on the 27th – the complete schedule is here.

March 25, 2010 Posted by | jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

NEC Jazz Week in NYC 3/20-27/10

March 20-27 it’s the 40th anniversary of jazz at the New England Conservatory (Boston’s equivalent of Juilliard), with a series of first-rate, relatively inexpensive (or free) New York concerts plus a lecture. The weeks winds up with a jazz summit at BB King’s on the 27th featuring Cecil Taylor, Bernie Worrell, John Medeski of Medeski, Martin and Wood and others. Proceeds from the events go to support jazz scholarships at NEC. The full calendar is below: click here for updates.

Saturday, March 20 saxophonists Matana Roberts solo at 8:30 followed by composer Jeremy Udden and his group at 10 PM at the Cornelia St. Cafe, $10.

Sunday, March 21, 2-6 PM, free, at the Studio at the Irene Diamond Education Center, Jazz at Lincoln Center, Time Warner Building, 33 West 60th Street, a panel discussion: “Living Time”: George Russell’s Musical Life and Legacy

Panel 1: George Russell as composer, bandleader, and influential figure

Panel 2: George Russell as music theorist and educator

Panelists include: Gunther Schuller, Ken Schaphorst, Ingrid Monson, Cameron Brown, Stanton Davis, Ben Schwendener, with an introduction by Jerome Harris.

Sunday, March 21 Andre Matos featuring Noah Preminger & Sara Serpa along with bassist Thomas Morgan, pianist Leo Genevese and drummer Ted Poor, 8:30/10 PM at the Cornelia St. Cafe, $10.

Monday, March 22, PM at 55 Bar the Public Option: trumpeter Jason Palmer, saxophonist Michael Thomas, guitarist Greg Duncan, bassist Lim Yang and drummer Lee Fish, free, followed at 9:30 by the Noah Preminger Quartet ($10 cover): saxophonist Noah Preminger, guitarist Ben Monder, bassist John Hébert, and drummer Matt Wilson.

Tuesday, March 23 Darcy James Argue’s Secret Society, 7:30/9:30 PM at the Jazz Standard, $25

Wednesday, March 24 the NEC Faculty Jazz All Stars: George Garzone, John McNeil, Cecil McBee, Billy Hart and Frank Carlberg, 7:30 PM plus at 9:30 Marty Ehrlich’s Quartet at the Jazz Standard, $25

Thursday, March 25 the New Mellow Edwards feat. Curtis Hasselbring, trombone; Chris Speed, tenor saxophone, Trevor Dunn, bass; John Hollenbeck, drums. The post-show jam session features Jeremy Udden, alto saxophone; Frank Carlberg, piano; Joe Fitzgerald, bass; George Schuller, drums at the Douglass Street Music Collective, 295 Douglass Street (3rd/4th Aves), Gowanus, Brooklyn, $10

Friday, March 26 the NEC Jazz Vocal Summit feat. Dominique Eade, Sara Serpa, David Devoe, Amy Cervini, Jo Lawry and Sofia Koutsovitis, 7 PM at Joe’s Pub, $15

Also Friday, March 26 the John McNeilBill McHenry Quartet at the Cornelia Street Café 9/10:30 PM, $10

Saturday, March 27 NEC Jazz 40th Anniversary Summit concert feat. Cecil Taylor, Bernie Worrell, Anton Fig, John Medeski, Ran Blake, John Medeski of Medeski Martin & Wood; Sarah Jarosz, Dominiquie Eade, comedic country cabaret crew Lake Street Dive (Rachael Price, Michael Calabrese, Bridget Kearney, Mike Olson), others TBA. At BB King’s, 8 PM, $25 adv tix highly rec.

March 4, 2010 Posted by | jazz, Live Events, Music, music, concert, New York City | , , , , , , , , , , , , , , , | Leave a comment