Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

String Jazz Magic at This Year’s Art in Gardens Series

This year’s free outdoor summer concert series are pretty much over at this point, but there’s another going on in three Lower East Side community gardens through the first weekend of October. The organizers call it Art in Gardens. What’s most exciting is that it’s dedicated to jazz improvisation: right now, it’s the only series of its kind anywhere in town. As you’ll see from the schedule, the lineup is a mix of veterans – some of them admittedly on the self-indulgent/Vision Fest side – but there’s plenty of new blood, and new reasons to chill with neighborhood greenery.

The centerpiece of Sunday’s lineup in the garden on 6th Street between Avenues A and B was Sarah Bernstein‘s mesmerizing Veer Quartet with violinist Sana Nagano, violist Leonor Falcón and cellist Nick Jozwiak. While Bernstein never allows herself to be fenced in by the western scale, it seemed that about eighty percent of her compositions on this particular bill were in those familiar tones.

The music was so fresh that it seemed largely improvised, although the group were all reading from scores. The first number featured a series of exchanges of short, punchy, leaping phrases between individual voices. As the show went on, there was considerable contrast between restless, slowly shifting sustained notes and what has become Bernstein’s signature catchy, rhythmic riffage. As evening drew closer, the tonalties drifted further outside: the most recognizable microtonal piece also managed to have the catchiest twelve-tone phrases bouncing around over achingly tense, often rapturously suspenseful washes of harmony.

There wasn’t much soloing until Jozwiak cut loose with a sizzling downward cadenza and then a fleeting rise afterward, an unexpected jolt of very high voltage. Toward the end of the set, there was finally a furious thicket of bowing and a slowly ascending firestorm in its wake. Otherwise, elegance and sheer tunefulness were the order of the day. There were many moments where only one or two individual instruments were playing, and when the whole group were engaged, Jozwiak would often be plucking out a bassline while one or more of the violins offered keening, sepulchral harmonics far overhead.

Pretty much everything seemed through-composed: verses and choruses didn’t come around a second time, except in later numbers: much of the material would have made sense as a suite. Bernstein’s next gig with this crew is Sept 15 at 7 PM at Spectrum; cover is $15. The next Art in Gardens show features poetry and dance in addition to music: the lineup starts at 1:30 this Saturday afternoon, Sept 14 with Rob Brown on alto sax and Juan Pablo Carletti on drums. At 3:30 Val Jeanty plays percussion, backing dancer Patricia Nicholson and at 4:30 drummer Michael Wimberly teams up with trumpeter Waldron Ricks and bassist Larry Roland at the Children’s Magical Garden, 129 Stanton St, just east of Essex. Can’t vouch for the insect factor at this spot, but on an overcast day the bugs were out in full effect on 6th St.; you might want to slather on some Deep Woods Off or the equivalent.

September 13, 2019 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Improvising a Film Noir

Karl Berger’s Improvisers Orchestra’s performance Thursday night at El Taller Latinoamericano was a Halloween show of sorts, a feast of lush, slowly crescendoing, apprehensive sonics punctuated by bracing cameos from some of New York’s most engaging improvisers. Since 1972, when Berger fouunded the Creative Music Foundation upstate, pretty much everyone who’s anyone in jazz improvisation has had some assocation with him. This tantalizingly brief performance, by their standards anyway (clocking in at just under an hour) was typical in terms of consistent magic and intuitive interplay. LIke the Sam Rivers Trio reunion album recently reviewed here, it was amazing how cohesive and seemingly through-composed the performance seemed despite the group having only batted around some ideas for maybe an hour beforehand. It was a film noir for the ears.

In their own unselfconscious way, this ensemble is one of the world’s most exciting in any style of music, when they’re on – which they almost invariably are. Lately, the Stone has been their New York home, so it was good to see them in somewhat less confining surroundings (with 20 members, that doesn’t leave much room for a crowd at the Avenue C space). If you’ve ever wondered where improvisational conductors like Greg Tate and Butch Morris got their inspiration, look no further than Berger, who had plenty of fun methodically pulling solos, and motifs, and an endless series of crescendos out of the orchestra. As it peaked, this show could have been the Gil Evans Orchestra jamming out something from the legendary 1962 Individualism album. or a late 50s John Barry score in a particularly harrowing moment.

The theme of this show was tense, close harmonies, deftly balanced between highs and lows, reeds and strings. Berger smartly employed Hollis Headrick’s bongos, echoing ominously throughout the room, to amp up the suspense factor. Intense drummer/percussionist John Pietaro utilized the vibraphone set up at the back of his kick drum for extra melodic bite, while drummer Lou Grassi took command of swing interludes and blustery cymbal ambience. Bassist Lisa Dowling played the entirety of the show with a bow, an apt decision since it kept her minimalist menace audible even as the music rose to epic heights. Tenor saxophonist Peter Apfelbaum and vocalist/poet Ingrid Sertso took charge of continuity between segments; strange as it may seem to rely on spontaneous spoken word to maintain a groove, Sertso pulled it off with a surreal nonchalance. “Murder is murder is murder,” she intoned softly at one point.

A flurry of teeth-gnashing, tremolo-picked mandolin, a gracefully sepulchral downward swoop from Sama Nagano’s violin, a richly plaintive soprano sax interlude from Catherine Sikora, frenetically aghast slashes from the baritone saxophone, haunting Ken Ya Kawaguchi shakuhachi and alternately tuneful and droll trumpet from Thomas Heberer all followed in turn over the wary ambience behind them. Berger finally wound up the set by introducing a relatively obscure Ellington theme with his melodica, which the ensemble was quick to pick up, yet held back from completely embracing, lending it the same rich unease that had permeated the first forty-five minutes of the show. As large-scale improvisation goes, it’s hard to think of anything as gripping and altogether fascinating to watch as this was. Berger and the rest of the crew will be at Shapeshifter Lab in Gowanus sometimes in November; watch this space. And the Creative Music Foundation has an archive of performances dating from the 70s, featuring artists like Rivers and Morris, which they plan to share with the public at some future date.

October 22, 2012 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment