Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Roger Davidson Claims Rio As His Own

Friday night at Zinc Bar, pianist/composer Roger Davidson led a first-class New York-based Brazilian jazz band in a romp through tunes from his lavish new double cd, Jounrey to Rio, just out from Soundbrush. Davidson has had a lifelong affair with Brazilian music, culminating with a two-week jaunt there where this album was recorded with an all-star cast including saxophonist Marcelo Martins, trombonist Gilmar Ferreira, guitarist Leonardo Amuedo and a multitude of percussion. Davidson alluded that the cast onstage – including David Finck on bass, Luis Bonilla on trombone, Paul Meyers on guitar, plus Ivan Renta on tenor and soprano saxophones, Adriano Santos on drums and Marivaldo doe Santos on percussion.n – would be equally at home playing the compositions, and they were.

At the keys, Davidson favors big block chords, stairstepping chromatics and insistent octaves to anchor the sound, filling a role much like a rhythm guitarist in a rock band. He plays that role strongly and nonchalantly and is generous with solos, allowing plenty of space for contributions from individual members. Bonilla’s rippling, minutely glistening, jeweled attack, rapidfire glissandos and ever-present good humor kept the crowd on the edge of their seats. Renta alternated between balmy tenor lines and jauntily spiraling soprano work over the hypnotic, clave-powered river from the corner with the percussion. Meyers’ nimble, spikily crescendoing solos were as sympatico as his strong, resonant chordal propulsion: he made a smooth but powerful engine to the percussion’s unstoppable wheels.

The funniest moment of the night was Davidson’s one-note samba, where the horns played that note in perfect almost-deadpan unison while Davidson worked equally tongue-in-cheek permutations on a single chord before introducing variations on the theme, such that it was. A couple of duets by Meyers and Davidson provided a summery, sometimes wistful contrast. Bonilla fired off a long shower of sparks that elevated a showy cha-cha above the level of parade-ground theme, while Davidson’s own gleaming, noctnnal work lit up an unexpectedly saturnine, anthemic bossa number, soprano sax trading off with Bonilla’s plaintive resonance. Much as most of the song titles were love songs, an upbeat pulse and warm sixth chords dominated the show, Davidson switched up the moods, somsetimes almost imperceptibly, from song to song. And there was delicious, celebratory cake at the end of the concert, baked for the occasion by Finck’s daughter Olivia. She may have music in her bloodlines but she has a bright future as a pastry chef if she feels like it.

Davidson has also enjoyed great success with klezmer and Balkan music, notably on his previous album On the Road of Life, a collection of originals in those styles. Ultimately, considering how effortlessly he moves between seemingly dissimilar styles, his future may be in writing for film. Somewhere there’s a mystern/adventure narrative set somewhere in the tropics that would benefit magnificently from what Davidson’s been up to lately.

June 16, 2013 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment

Roger Davidson Hits the Klezmer Road

Whether Roger Davidson knows it or not, he’s just released an elegant gypsy punk record. It’s not likely that the eclectic composer, whose previous work spans the worlds of jazz and tango nuevo, launched into his new album On the Road of Life with that idea in mind. But that’s pretty much what he ended up with. “Pretty much,” because there are no distorted guitars or pummeling drums here – and also because Davidson’s intent was to write an original album of klezmer tunes. Whether this is klezmer, or Balkan music, or gypsy music is really beside the point – whichever way it falls stylistically, it’s a collection of memorably simple themes bristling with the scary/beautiful chromatics and eerie minor keys common to all those genres. Here Davidson is backed by what he calls the Frank London Klezmer Orchestra, an eclectic group with the great klezmer trumpeter alongside another klezmer legend, Andy Statman on mandolin and clarinet, plus Klezmatics drummer Richie Barshay, Avantango bassist Pablo Aslan and Veretski Pass accordionist/cimbalom player Joshua Horowitz.

Some of these are joyous romps. Freedom Dance has solos all around and some especially rapidfire mandolin from Statman. Dance of Hope is sort of a Bosnian cocek with mandolin and clarinet instead of blaring brass, and a tune closer to Jerusalem than to Sarajevo. There’s Harvest Dance, based on a crescendoing walk down the scale; Water Dance, with an absolutely ferocious outro, and Hungarian Waltz, which in a split second morphs into a blazing dixieland swing tune fueled by London’s trumpet. Yet the best songs here are the quieter ones. The title track is basically a hora (wedding processional) that builds gracefully from a pensive, improvisational intro to a stately pulse driven by Aslan’s majestic bass chords. There’s also Equal in the Eyes of God, which reaches for a rapt, reverent feel; Sunflowers at Dawn, which klezmerizes a famous Erik Satie theme; The Lonely Dancers, a sad, gentle Russian-tinged waltz, Statman’s delicate mandolin vividly evoking a balalaika tone; and the epic, nine-minute Night Journey, glimmering with suspenseful, terse piano chords, tense drum accents, allusive trumpet and finally a scurrying clarinet solo.

Davidson may be a limited pianist, but he’s self-aware – his raw chords and simple melody lines only enhance the edgy intensity of the tunes here. That he’s able to blend in with this all-star crew affirms his dedication to good tunesmithing, keeping things simple and proper, as Thelonious Monk would say. Fans of moody minor keys, gypsy music and the klezmer pantheon will find a lot to enjoy here.

August 23, 2011 Posted by | gypsy music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , | Leave a comment