Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Philip Glass Curates a Deliciously Eclectic Benefit Concert at the Town Hall

Thursday night at the Town Hall featured a global cast of talent assembled by Philip Glass for a benefit concert for the Garrison Institute, a Westchester County nonprofit think tank. As befits an organization housed in a former monastery space, the music had a mystical quality, no surprise considering Glass’ involvement. Early music choir Pomerium opened the evening with a garden of unearthly delights, conductor  Alexander Blachly immediately setting the tone with Gesualdo’s haunting, strikingly ominous O Vox Omnes (whose Biblical lyrics, from the Book of Lamentations, have Jesus asking passersby how their pain might compare with his). From there the ensemble lightened somewhat and went deeper into hypnotically meticulous polyphony from Talls, Desprez and Lassus. This expertly lush, velvet-toned group is at Corpus Christi Church, 529 W 121st St., at 4 PM on Oct 27 if Renaissance choral treasures are your thing.

The most tantalizing piece of the night was a brand-new Glass composition which the composer played as a duet with pipa innovator Wu Man, his murky resonance contrasting with her Chinese lute’s airy, acerbic, ghostly overtones. She also played a suspenseful, slowly rising improvisation on a Chinese folk song as well as Glass’ 2004 chamber work, Orion, teaming with the Scorchio Quartet (violinists Amy Kimball and Rachel Golub, violist Martha Mooke and cellist Leah Coloff) for an eclectic and biting journey through its alternately Indian and Middle Eastern passages. The quartet also joined with pianist Nelson Padgett and baritone Gregory Purnhagen for another New York premiere, Glass’ Songs of Milarepa, whose exquisitely meta-Glass music – nuevo baroque mingled with hauntingly minimalist, Dracula-esque arpeggiation and echoes of a couple of Glass string quartet themes – far surpassed the prosaic translations of doctrinaire Buddhist lyrics written by an eleventh-century Tibetan monk.

Longtime Glass collaborator Foday Musa Suso, the Gambian-born griot, opened the second half of the show solo on kora harp, maintaining a balance between hypnotic and spikily insistent, a one-man orchestra of circular rhythmic riffage and intricate ornamentation. Turkish virtuoso multi-instrumentalist Omar Faruk Tekbilek followed and was arguably the high point of the show, with a slinky, crescendoing, all-too-brief set with his son Murat on frame drum. The father began with a long, enigmatically searching taqsim (improvisation) on flute while hitting the occasional rhythmic chord on baglama lute. Then he picked up the lute and delivered a slowly crescendoing, impassioned, microtonally-charged setting of a rather epic Rumi poem. Austin, Texas-based Riyaaz Qawwali brought the energy level up to redline, ending the night with a joyously undulating, percussive homage to Nusrat Fateh Ali Khan.

October 26, 2013 Posted by | classical music, concert, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Rough Guide to Sufi Music Is Out Today

Muslim mystical music being as diverse as Islam itself, it’s only appropriate that the new Volume 2 of the Rough Guide to Sufi Music would highlight the eclecticism of Sufi devotional music from around the globe. Some of the songs here are straight-up pop, others take ancient themes to trippy, psychedelic extremes, while traditionalists look back centuries and even millennia for inspiration. There’s a lot of cross-pollination: the sacred becomes profane and vice versa.

The compilation’s opening track, Zikr, by Kudsi Erguner vamps on a hypnotic Arabic flute theme. On one of the real standout tracks here, Syrian group Ensemble Al Kindi join forces with acclaimed sufi singer Sheikh Habboush for an epic that begins with a rippling qanun improvisation and builds to a swaying dance. Likewise, a number by Pakistani qawwali singer and 2006 BBC World Music award winner Sain Zahoor is more celebration than invocation or lament – and is that a Farfisa in the mix?

Two Senegalese artists are represented: Modue Gaye, whose artful, improvisational blend of West African and levantine sounds creates the single most memorable track here, and Cheikh Lo, who weighs in with a simple, mantralike acoustic guitar song. Afghani ensemble the Ahmad Sham Sufi Qawwali Group offer the most traditional song here, with its animated call-and-response, while Pakistani songstress Sanam Marvi contributes a neat update on some old ideas, spicing her guitar-based trip-hop with an imploring solo vocal intro and then rustically soaring fiddle.

There’s also reggae from Pakistani duo Arif Lohar & Meesha Shafi, trip-hop from Transglobal Underground and the Indian trio M. Abdul Gani, M. Haja Maideen & S.Sabur Maideen, and a surprising lo-fi dub reggae remix of a Nusrat Fateh Ali Khan number that actually beats the original. As with all the recent Rough Guide compilations, this is made even more enticing by the inclusion of a bonus cd, the Rough Guide to the Sufi Fakirs of Bengal, which has never before been available outside India. Literally a trip back in time, it’s a mixture of the blissful and the wary, with lute, flute, percussion and layers of vocals from a rotating cast of singers.

July 25, 2011 Posted by | folk music, middle eastern music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment