The Silkroad Ensemble Release a Haunting, Surreal New Osvaldo Golijov Epic

Over the past practically three decades, the Silkroad Ensemble have been the world’s great champions of a blend of music from south Asia, through the Arabic-speaking world and the west. Their latest album, Falling Out of Time – which hasn’t hit the web yet – comprises a single, lavish, thirteen-part tone poem by contemporary classical composer Osvaldo Golijov, which hauntingly dovetails with the group’s esthetic. It may be the most stunningly accessible orchestral work the composer has ever written. It’s certainly the most eclectic, drawing on such diverse idioms as Indian music, classical Chinese theatre, jazz balladry and sounds of the Middle East.

This is a frequently operatically-tinged work, tracing a surreal, grim narrative surrounding the death of a child. Mythical creatures and archetypes are involved. The introduction, Heart Murmur rises from a brooding, skeletal Arabic-tinged taqsim to a darkly catchy, circling ghazal-like melody over a dancing, jazz-inflected pulse and the achingly intertwining voices of singers Biella da Costa and Nora Fischer.

Night Messengers is a stark, increasingly imploring nocturnal tableau, the womens’ voices wary and enigmatic over an all-star string quartet comprising half of Brooklyn Rider – violinist Johnny Gandelsman and violist Nicholas Cords – with violinist Mazz Swift, and cellist Karen Ouzounian.

That sudden, stratospherically high harmony in the enigmatic Come Chaos is a real shock to the system: is that a voice, Wu Tong’s sheng, or a theremin? No spoilers!

Uneasy, fragmentary flickers from the strings followed by Wu Man’s pipa join to introduce the simply titled Step, rising to a harrowing intensity. The Lynchian dub interlude afterward comes as another real shock.

Shane Shanahan’s tabla and the singers’ acidic harmonies take over the hypnotic ambience as In Procession, a portrait of mass bereavement, gets underway, Kayhan Kalhor’s muted, desolate kamancheh solo at the center amid the string quartet. Troubled atmospherics waft and eventually permeate Walking, the suite’s drifting, central elegy, lowlit with echoey kamancheh, Dan Brantigan’s desolate trumpet and Shawn Conley’s spare jazz-inflected bass

An ambient lament featuring spiky pipa in contrast to Jeremy Flower’s synth foreshadows Fly, which with its aching ambience and jazz allusions mirrors the centerpiece. Go Now, the suite’s most immersive, restlessly resonant track, features a long, plaintive kamancheh intro, a similarly aching, vivid duet with the violin. Da Costa reaches for the rafters with the pipa trailing off morosely at the end.

Akeya (Where Are You) is a dissociative mashup of orchestral 1950s Miles Davis, Etta James moan and kabuki theatre, maybe. The ensemble hint at rebirth and redemption in the closing tableau, Breathe. Is the nameless dead boy at the center of the story a metaphor for the hope and joy that was stolen from us in 2020? What a piece of music for our time!

Ben Holmes Brings His Darkly Tuneful Naked Lore Project Back to Barbes

Trumpeter Ben Holmes has been a mainstay of the Barbes scene practically since the beginning. With roots in klezmer, Balkan music and postbop jazz, he will often shift between all three idioms in the course of a single song…or even a single solo. Blasting away with endless volleys of notes is not his thing: his full, resonant tone, which comes out especially when he’s on the flugelhorn, pervades his dark chromatics, moments of sardonic humor and unselfconsciously poignant lyricism. Over the years he’s played the Park Slope hotspot with all sorts of bands, from legendary pianist Pete Sokolow’s Tarras Band to the Yiddish Art Trio, and most recently, with Big Lazy.

That iconic noir trio have experimented with horns many times over the years, but Holmes is the one trumpeter who really gets their ilngering menace. He sat in with the band after a more distantly uneasy set with his Naked Lore trio at the end of August and held the crowd rapt with his spacious, enigmatic lines and occasional stalker-from-the-shadows burst. Big Lazy guitarist/frontman Steve Ulrich likes to employ horns to max out the suspense in his crime jazz themes, and Holmes picked up on that in an instant. He also added spicy hints of Ethiopian style to a couple of more recent, rather epic Big Lazy numbers which look back to the group’s days of deep, dark dub exploration in the early zeros. Big Lazy’s next gig is at 8:30 PM this Dec 6 at Bar Lunatico.

Holmes’ set with Naked Lore to open that August Barbes gig was a chance to see how tightly the trio have refined their sound over the past several months. Guitarist Brad Shepik had cut the fret finger on his left hand – and was playing acoustic. Was he going to be able to pull this off? Hell yeah – even when that meant running tricky, syncopated cyclical phrases over and over, as he did on one recent number, or chopping his way through fluttery tremolo-picked passages. Was there any blood? Not sure – Shepik played the set seated next to drummer Shane Shanahan, and the venue was crowded, so it was sometimes hard to see the stage.

What’s become obvious lately is how prolific Holmes has been, and how vast his catalog of unrecorded material is. The best song of the set was a diptich of sorts that he’d begun as an attempt to write a pastoral jazz tune, but then he “Lapsed into freygish mode,” as he put it, drifting into biting Middle Eastern microtones as the melody grew more overcast. Naked Lore are back at Barbes on Dec 8 at 8 PM on a typically excellent if bizarre Saturday night bill. Trombonist Ron Hay’s fascinating Erik Satie Quartet – who reinvent works by Satie and other early 20th century composers as pieces for brass and winds – open the evening at 4 PM; bizarro, unpredictable psychedelic salsa revivalist Zemog El Gallo Bueno plays afterward at 10.

And catching the debut of Holmes’ brand-new trio earlier this month, again at Barbes, was a revelation. The not-so-secret weapon in this band is pianist Carmen Staaf. Among the sort-of-new, “rising star” generation of New York pianists, only Arco Sandoval can match her in terms of consistent edge, imagination and tunefulness. In fact, the best song of the night, built around a clenched-teeth, circling minor-key riff, might have been hers. Holmes’ own picturesque, pensive tunes gave her a springboard for plenty more of that. While Shanahan’s playing with Holmes is spacious, terse and part of a close interweave, this group’s drummer, Jeff Davis romped and thumped behind the kit, raising the energy at the show several notches. They closed with a funky, catchy number of his. Where Naked Lore is all about close attunement and interplay, this group is just the opposite: three very different personalities in contrast. Let’s hope this trio stay together and reach the depths that Naked Lore have been able to sink their chops into.

Another Enigmatic, Devious Album From Mr. Ho

Mr. Ho’s Orchestrotica began as an Esquivel cover project and quickly expanded to become a vehicle for multi-instrumentalist/percussionist bandleader Brian O’Neill’s erudite grooves, part exotica lounge band, part droll Raymond Scott-esque third-stream ensemble and once in awhile, expanding to become an explosive big band. With the smaller unit, it continues to amaze how big and lush a sound O’Neill gets out of a simple vibraphone/flute/bass/drums quartet. Their first album, a collection of Esquivel tunes, was a mixed bag; their second, Third River Rangoon, a richly woozy, psychedelic glide down a jungle river of the mind. Their third, Where Here Meets There is a suite, more or less: while the compositions don’t segue from one into another, O’Neill sets a mood immediately and maintains it, hypnotic and resonant yet a lot more rhythmic than their previous effort.

The opening track, Chiseling Music, introduces the nebulous, enigmatically minimalist feel that dominates most of these compositions, guest Tev Stevig’s spiky tanbur contrasting with balmy atmospherics. Beginning with echoey hand drum and then a slowly winding vibraphone solo, Sansaz dances, but as if underwater, finally emerging to come face-to-face with the cold, distant menace of that tanbur again. Maracatune for Chalco works a vamping, Esquivelic low-versus-high contrast, bass handling some of the highs, flute some of the lows as it grows more kinetic and then suddenly eerie as percussionist Shane Shanahan comes to the foreground.

Would You Like Bongos with That Fugue? is O’Neill in droll third-stream mode, a dancing Jason Davis bass solo at its center as the atmospherics recede back into the mist. Ritual Mallett Dance – inspired by paradigm-shifting percussionist Chano Pozo, with distant ecchoes of flamenco and cha-cha – mashes up de Falla’s Ritual Fire Dance and Dizzy Gillespie’s Guachi Guaro. They follow that with a Gershwin triptych that makes bouncy bossa out of ragtime, finally sending Geni Skendo’s flute soaring skyward, Peggy Lee’s Siamese Cat Song making a somewhat predictably cartoonish appearance midway through. The album ends with a masterfully misterioso, brooding take of Cal Tjader’s Black Orchid, Stevig managing to fire off an oud solo that doesn’t sound Middle Eastern, looping bass and then ambient flute maintaining a suspenseful edge as O’Neill’s vibes get busy. Adding to the fact that this a fascinating and often very fun album is that there is no band on the planet that sounds remotely like Mr. Ho’s Orchestrotica – not even any of those long-defunct Esquivel ensembles who inspired them.

CD Review: The Silk Road Ensemble – Off the Map

Their most adventurous album. For ten years, the Silk Road Ensemble has been bringing some of the most fascinating, intense and pioneering Asian and Asian-inflected music to western audiences. On their latest cd, an all-star cast of some of the most imaginative players on the planet – literally – take a flying leap into a rich, cutting-edge program of cross-pollination with equal parts gusto and finesse. For one reason or another, it’s arguably the least Asian of the Silk Road albums, and also the most demanding – while some of the compositions here are among the most accessible the ensemble has recorded, others are far from that – but a close listen pays tremendous rewards.

The cd opens with a three-part suite by the reliably multistylistic Gabriela Lena Frank (who just won a Latin Grammy!), titled Ritmos Anchinos. The opening piece, as Frank puts it, has Chinese pipa virtuoso Wu Man discovering her inner latina. The second is a blissful little dance inspired by a Chinese-African village in Peru; the third hitches a raw, clattering, rhythmically tricky, reverb-driven pipa piece to a second part where the pipa takes on some particularly imaginative jazz guitar voicings.

Hong Kong-born composer Angel Lam’s phantasmagorical, shapeshifting Empty Mountain, Spirit Rain follows, building to a dark, dramatic crescendo following a sparse buildup in the Asian scale, Kojiro Umezaki’s rustic shakuhachi flute bringing back a rain-drenched, ambient feel. The second part is a mysterious narrative of the events of the first part, sweeping along uneasily on the wings of the strings.

Evan Ziporyn’s compositions draw deeply on his gamelan work, and his trio suite here, Sulvasutra is no exception. Based on an ancient treatise on the proper proportions for Hindu altars, there’s a definite symmetry here, circular, echoey and insistent, the extraordinary string quartet Brooklyn Rider interpolating atmospherics within tabla player Sandeep Das’ hypnotic rhythms. The second part sounds like what another adventurous string composer, Ljova Zhurbin, might have done with a gamelan, adding a raw Carpathian edge to the pointillistic ambience; Wu Man reappears deviously in the concluding segment, taking the piece rousingly back to Fiji.

The concluding suite – if you can call it one – is the album’s star attraction, the latest from Osvaldo Golijov, alternatingly rousing, joyous, raptly hypnotic and haunting. On the slinky, seductive first section, the Argentinian avant garde luminary proves himself adept and frankly exhilarating (if not exactly innovative) at lush Mohammed Abdel Wahab-style levantine orchestration. The still, brooding, mystical tone poems that follow fall in stark contrast with the ecstatic, defiant Sardinian protest song that fades up and blasts along like the Pogues, Galician bagpipe star Cristina Pato fueling the blaze. And then it’s over. It’s out now on World Village Music and it makes a particularly suitable holiday gift for the cutting-edge listener on y0ur list.

CD Review: Monika Jalili – Elan

This might be the best world music album of the year, a frequently haunting, unabashedly romantic collection of popular acoustic songs from Iran from the era before the mullahs took over after the fall of the Shah in 1979 (to call what happened there a revolution is revolting). New York-born Monika Jalili comes from a musical theatre background, which makes sense when you hear her clear, minutely nuanced soprano, to which she’s expertly added the trademark ornamentation of Iranian classical song, using a delicate vibrato which often trills off at the end of a phrase for emphasis. The songs, mostly dating from the 60s and 70s, combine the austere microtonality of traditional Iranian music with the vivid emotionality of French chanson and a lush Mediterranean romanticism. Jalali sings in Persian and Azeri as well as English and French on two songs. The musicianship is equally nuanced and haunting: for this album, her second collection of songs from Iran, she’s enlisted the extraordinary New York-based oudist/composer Mavrothi Kontanis as well as his bandmate Megan Gould on violin, Erik Friedlander on cello, Riaz Khabirpour on acoustic guitar, Marika Hughes on cello and Silk Road Project percussionist Shane Shanahan. To call their performance inspired is an understatement.

Jalili communicates an intense sense of longing on the opening track, Ghoghaye Setaregan (Dance of the Stars), a jangly cosmopolitan ballad in 6/8 with incisive violin. Arezooha (Wishes) evokes 60s French folk-pop with sparse violin and cello behind Jalili’s subtle vocals. Gonjeshgake Ashi Mashi (Little Sparrow) is not a Piaf tribute but an upbeat take of an old folksong, done anthemically with some stirring oud work by Kontanis and the string section.

Ay Rilikh (Separation) is masterfully evocative, Gould’s violin dark and distant with reverb, a chilling contrast with Jalili’s warm interpretation. The upbeat, happy medieval folk dance Evlari Vaar (To Bemaan) has an almost Britfolk feel; by contrast, Biya Bare Safar Bandim (Let’s Be on Our Way) has a slightly Asian tinge, especially on the vocals. Kontanis’ oud holds it to the ground as Gould’s violin soars skyward, Jalili following in turn and then adding some spectacularly flashy vocalese at the end.

Peyke Sahari (Messenger of Dawn) builds to a crescendo with a haunting three-chord descending progression at the end of the verse, illuminated by a beautiful string chart that grows more insistent. The mood turns in a considerably brighter direction with the coy, percussive, bolero-ish Bia Bia Benshin (Come Sit by Me), Kontanis and Gould again taking brief but memorable turns on the bridge. The cd ends with its best song, the darkly swaying, dramatic Ay Vatan (Oh, My Homeland):

Freedom’s here, not in the distance
Oh, my land…
You’re the hero, oh this madness
Oh, my land,

Jalili wails delicately over Kontanis’ eerily swooping oud riffs. The ensemble takes it out with an elegantly fluttering, understatedly chilling conclusion. With the people of Iran uniting against the repression of the past thirty years, there could not be a more auspicious time for this album to come out: the anthem for the next real Iranian revolution could be on it. Watch for this high on the list of the best albums of 2009 here at year’s end.