Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Escape to Paris in the 1930s with Chloe Perrier

The point of chanteuse Chloe Perrier’s new album Petite Fleur, with her French Heart Jazz Band – streaming at Spotify – is that these are dark times, and she wants to give everyone a little escape to a better time and place. Les Deux Magots in the Quartier Latin, smoky and electric…but with sounds far more cross-pollinated than even the musical mecca that was prewar Paris could have conjured at the time.

Over the past couple of years, Perrier and the band have been playing a mix of classic chanson, Romany jazz and American standards, many of them reinvented with counterintuitive panache. Everything on the album has been thoroughly crowd-tested: until the lockdown, Perrier and the group maintained a tough schedule of club and hotel bar gigs. And even though this is an upbeat album, she’s never sung with more depth and gravitas than she does here.

The album’s opening track, Charles Trenet’s Menilmontant, is one that Perrier really excels with. This is a particularly bright, brisk version, with scurrying guitar from Akira Ishiguro and cheery clarinet by guest Jon Hunt over the scampering shuffle of bassist Jim Robertson and colorful drummer Rodrigo Recabarren. Perrier’s clear, unselfconscious, personable vocals are the icing on the cake.

She sings the old klezmer-jazz standard Comes Love in French, with a vivid wistfulness, over a syncopated, bouncy bolero beat, violinist Caroline Bugala adding cosmopolitan flair. The group revisit that milieu later on, in their version of Sway.

Perrier returns to the Trenet songbook for a relatively slow, swinging, Django-and-Stephane-tinged take of Que reste-t-il de nos amours and then follows that by reinventing Helen Merrill’s Just Squeeze Me as the coy Lorsque tu m’embrasses.

Then Perrier pays a jaunty visit to “le pays aux oiseaux” – you could do the same if the 44th Street club immortalized in the song hadn’t been shut down by Il Duce in Albany. She goes deep into the expat subtext of the old Josephine Baker hit J’ai deux amours over a steady shuffle, then she sings Coquette in English as the band leap and bound elegantly behind her.

Guilty, a knowingly enigmatic take on the big hit by British crooner Al Bowlly, was included on the soundtrack to the film Amélie. The inevitable version of La vie en rose here gets redone with a Djangoesque pulse, triumphant energy from Perrier and Bugala.

Ray Ventura’s Je voudrais en savoir d’avantage gets a verdant workout with sailing violin and guitar solos. Perrier and band close the record with an absolutely gorgeous, haunting bolero take of the Sidney Bechet-penned title track. Perrier’s going to cheer up a lot of people in her “deux amours,” on both sides of the pond, with this one.

November 11, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Avalon Jazz Band Fuel the Revelry at Symphony Space

On one hand, it was mystifying to see a sold-out crowd sitting sedately through the first three songs of the Avalon Jazz Band’s sold-out show at Symphony Space Thursday night. On the other, it was validating to see the group earning appreciation as a first-class jazz act. Too few swing bands get props for their chops.

This show was the second in a weekly series here called Revelry. Musically speaking, it’s the most exciting thing to happen to the Upper West Side in a long, long time. There were never many venues in the neighborhood to begin with and there are even fewer now. So Symphony Space is really filling a need by booking all sorts of artists who’ve probably never played this far north.

This Thursday, Oct 25 at 8 PM the venue has Jerron “Blind Boy” Paxton, a polymath on oldtime blues guitar, banjo and piano who may be the single most talented musician in all of New York. Ticket buyers 30 and under get in for $20, which is ten bucks off the regular cover charge. The downstairs bar stays open during the show and afterward; last week, ushers were grinningly handing out wristbands which entitled concertgoers to 20% off at the bar. All this is a different kind of return to the venue’s glory days in the late zeros and earlier in this decade when they were booking a ton of global talent in addition to the usual classical and jazz acts.

Last week, it was a four-piece version of Avalon Jazz Band. They opened with a charming, chirpy, playfully conversational take of the old French standard Coquette, frontwoman Tatiana Eva-Marie shimmying and teasing cartoonish riffs – and an irresistibly droll bass solo – from her bandmates. By the night’s third number, people of all ages were beginning to leave their seats and heading down in front of the stage to cut a rug. The snazziest dance moves of the night came from a couple who looked to be in their seventies, clearly old pros at swing dancing.

After starting in Paris, the singer led her quartet to Romany territory – Tatiana is half French and half Romanian – then to New Orleans and finally brought the music full circle. Guitarist Vinny Raniolo aired out his vast bag of riffs, from punchy Django Reinhardt swing, to warily resonant Chicago blues, fleet postbop and some eerie, tremoloing Lynchian resonance capped off with tremolo-picking that was sometimes fluttery and sometimes an icepick attack.

Violinist Gabe Terracciano showed off similar chops, from jaunty Bob Wills-style western swing, to airy Stephane Grappelli-esque phrasing, lots of sabretoothed Romany riffs and stark blues as well. Bassist Wallace Stelzer was amped pleasantly high in the mix, serving as the band’s Secretary of Entertainment with his wry sense of humor, the occasional tongue-in-cheek quote and solos that echoed the guitar.

The songs in the set were just as diverse. They’d played this year’s New Orleans Jazz Festival, so that was still on their minds. The highlight of the set was a brooding, saturnine take of Hoagy Carmichael’s New Orleans, with new English lyrics by a Crescent City friend of Tatiana’s. Her original, There’s Always a Moon Over New Orleans made a brisk contrast, inspired by the fact that when the band were down there, they never got up until after the sun went down. They mined the repertoire of Charles Trenet and Charles Aznavour for wistfulness, then went scampering up Menilmontant toward the end of the set. Afterward the crowd filed out to the bar, just as Tatiana – who by the end of the set had drained most of a sizeable glass of whiskey – had been encouraging all night. 

October 22, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

The Django Festival Allstars Return to Birdland with a Hot New Album Recorded There

It’s that time of year again when the Django Reinhardt Festival takes over Birdland, starting at 8 PM on June 25 and continuing through June 30. Fortuitously, the Django Festival Allstars have a new album out, Live at Birdland, recorded at last year’s festival. The sound quality is outstanding, as you would expect from this venue, and the playing is sensational, even by the rigorous standards of le jazz manouche. The track selection is eclectic and draws deeply on originals with contributions from several members of the band, rather than simply recycled Django Reinhardt classics. As timelessly enjoyable as the Django catalog is, it’s good to see this group pushing hard on the envelope at the forefront of the tradition.

There are three numbers associated with Django here. The band kicks it off with Swing Gitan, lead guitarist Dorado Schmitt adding a bluesy ominousness over the swirl of Ludovic Beier’s accordion, the two joining forces as the song winds out in flurry of tremolo-picking. Nuages, true to its name, builds a rich, Gil Evans-tinged reflecting-pool backdrop for Schmitt’s spacious hanmer-on work and guest Anat Cohen’s slinky soprano sax. There’s also Manoir de Mes Reves, essentially My Funny Valentine recast as a steady Romany jazz ballad. The other covers here are an accordion-fueled Beier arrangement of Caravan, with a droll new title, Camping Car, a feature for cellist Jisoo Ok, as well as an amped-up take of Out of Nowhere and a rather unexpectedly, hard-rocking, early 70s-tinged version of Them There Eyes.

But it’s the originals here that make this band what they are. Dorado Schmitt’s ballad For Pierre carefully sets up an austere feature for violinist Pierre Blanchard. Blanchard’s Balkanic Dance juxtaposes his biting lines against Beier’s nonchalantly sizzling chromatics. The plaintive Valse en Exil, another Blanchard tune, sets moody violin over elegantly dancing guitars, a lush backdrop rising and falling behind them. Schmitt’s El Dorado is a lively bossa in disguise, a rhythm they revisit as the album closes with Bossa Dorado, building suspense with a relentless intensity as they resist the urge to take it over the top.

The poignant, elegaic spaghetti western bolero Song for Etorre, another Schmitt tune, might be the album’s strongest track. The rest of the cuts include Pat’s Waltz, a bouncy Beier number built around rapidfire, clustering guitars; a hypnotically shuffling, Brazilian-flavored tune by co-lead guitarist Bronson Schmidt; and Dorado Schmitt’s funk-tinged Melissa. To call this one of the best jazz albums of the year seems almost unfair to the rest of this year’s releases, considering the sheer talent that this good-natured family bands bring to the material.

June 23, 2013 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , | Leave a comment