Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Thrills and Dynamism from the Transatlantic Ensemble at Steinway Hall

From this perspective, crowds at concerts have been even more sparse than usual since the election. Monday night at the new Steinway Hall just around the corner from the Town Hall, a surprisingly robust turnout for an early weeknight got to witness a thrilling, dynamic performance by the Transatlantic Ensemble: clarinetist Mariam Adam and pianist Evelyn Ulex, joined by a couple of similarly electrifying special guests, Lara St. John on violin and JP Jofre on bandoneon.

The group’s raison d’etre is to expand the range of serious concert music beyond the usual parade of dead white guys. Lots of ensembles are doing this, but few more excitingly than this semi-rotating cast. Adam got to treat the crowd with her joyous, technically challenging leaps and bounds as the group bookended the program with a couple of Paquito D’Rivera pieces, Benny@100 – a tribute to famed jazz clarinetist Benny Goodman – and a pulsing Venezuelan-flavored waltz.

In between, Ulex explored a similar dynamism and nuance. She’s one of the pianists Steinway selected to record for their digital player piano, the Spirio, which not only plays the notes but with a very close approximation of an individual player’s touch and phrasing. With the Spirio, you have your choice of your favorite music along with a variety of interpretations. If there’s no room in your apartment or your budget for such a big piece of equipment, the Steinway label has just put out the Transatlantic Ensemble’s new album Havana Moon – streaming at Spotify – whose release the group was celebrating.

The premise of the album, Adam revealed, was to celebrate the work of some of the group’s favorite composers from their global circle. The night’s biggest thrill ride was a tango by Miguel del Aguila, whom Adam described as “impetuous,” and she wasn’t kidding. Ulex attacked the tune with both graceful precision and unleashed passion as Adam provided cleverly dancing counterpoint, and St. John added her own high-voltage flurries and spirals. The group hit a similar peak later on when joined by Jofre for a rousing performance of his composition Primavera, which came across as more of a wild midsummer festival on the Argentinian pampa.

Del Aguila’s Silence, as Adam averred, was hardly silent: a requiem, it gave her the evening’s lone opportunity to cut loose in an anguished torrent of notes, and she made the most of it. The duo also elegantly parsed the subtleties of D’Rivera’s neoromantically-tinged Habanera, a wistful Roaring 20s Parisian waltz by Villa-Lobos and a surprisingly astringent, modernist lullaby by Jofre.

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November 19, 2016 Posted by | classical music, concert, jazz, Live Events, Music, music, concert, New York City, review, world music | , , , , , , , , , , , , , , , , | Leave a comment

Tango Mastermind Polly Ferman’s Global Festival Hits a Crescendo on the Upper East Side

Last night’s music and dance extravaganza at the 92nd Street Y, the centerpiece of the Shall We Tango festival – a celebration of global tango and tango-influenced sounds – started at 8, and there was still a floor full of dancers by the time the final band wrapped up at half past eleven. Organizer/pianist Polly Ferman created her own Histoire du Tango (to steal a title from the Astor Piazzolla book, richly and eclectically represented here), and this was a sweeping survey of every kind of tango. Tango as gangster music, boudoir music, serious concert music, ballet soundtrack, as part of the jazz spectrum, the classical repertoire and, arguably, the root source of all things noir: this show had it all.

There was graceful and often spectacular dancing by pairs assembled by the festival’s dance director, Karina Romero. Sometimes simply graceful, often sensationally athletic, the dancers showed off moves that would have been at home on an Olympic ice rink. Are the Olympians stealing those spirals, upside-down catch-and-release tactics and slinky motives from the tango world, or vice versa?

Ferman, a brilliant, witty, fiery performer and interpreter, played with a wicked precision and a cascading, volleying, relentless intensity in tandem with bandoneon legend Daniel Binelli, a frequent collaborator of hers. A little later, she brought out a quartet version of her all-female group GlamourTango, who celebrate women’s contributions to tango over the decades. The piano/bass/bandoneon/violin ensemble ranged from lively neoromanticism, to brassy swing behind a succession of singers, to balletesque themes and a little jazz, Ferman and her crew shifting through the idioms with effortless expertise. GlamourTango don’t seem to have any NYC gigs lined up, but lucky Milwaukeans can catch them at Latino Arts, 1028 S. 9th St. in Milwaukee on Dec 4 and 5; tix are $15/$10 stud/srs.

Bogota-based Quinteto Tango Leopoldo Federico – who take their name from the Argentine legend – aired out the Piazzolla songbook and other iconic material with a viscerally spine-tingling focus. Pianist Alberto Tamayo, violinist Miguel Angel Guevara, bassist Kike Harker, electric guitarist Francisco Avellaneda and bandoneonist Giovanni Parra stunned the crowd with a remarkably serious, moody, meticulous approach, Guevara taking the spotlight and making the most of it. The crowd gave them a standing ovation and wouldn’t let them leave without a couple of encores, the first of which sounded like a droll tango arrangement of the 1950s Big Bopper hit Chantilly Lace.

After a milonga which drew much of the audience out onto the floor to pair up while vintage, orchestrated 1950s sounds played over the PA, sizzling Venezuelan violinist Eddy Marcano and his seven-piece group leaped and bounded through a joyously animated set of folk-inspired jazz themes, bookending a darkly majestic take of Piazzolla’s iconic Libertango, anchored by the pianist’s haunting, hard-hitting, murky lefthand attack. The festival continues through Oct 15, with dance classes, milongas and a couple of shows at the Queens Theatre in the Park in Corona, across from where Shea Stadium used to be. The rest of the New York schedule of events is here.

October 12, 2014 Posted by | classical music, concert, latin music, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Philippe Quint Shows Off His Address Book and His Exquisite Chops on the Violin

The bill Tuesday night at the Times Center was a casual “Philippe Quint and friends,” but these friends are in high places, musically speaking. Great players never have trouble finding similar top-level talent, but this violinist has a particularly deep address book. Introducing his own Caprices from the film The Red Violin, John Corigliano attested to Quint’s eclecticism. “He can do bluesy swing, salsa, anything you ask him to,” he marveled. Quint validated him with an alternatingly terse and sizzling performance of the plaintively neoromantic solo theme and variations, through daunting octave passages, lightning descents and nail-biting intensity as they reached a peak.

A bit later on, his fellow violin virtuoso Joshua Bell joined him along with pianist William Wolfram for an effortlessly gleaming version of the opening movement from Moszkowski’s Suite for 2 Violins, followed by an equally gorgeous performance of Shostakovich’s Prelude for Two Violins and Piano, from the composer’s variations on the Jewish folk themes collected by legendary songfinder Moishe Beregovsky in the 1930s. There was a scripted false start and some banter about how Quint had appropriated the Corigliano suite, which Bell had played for the film score and which has since become a signature of sorts: here and elsewhere, Quint revealed himself as quite the ham when he wants to be.

The evening ended on an even more emotionally charged note with the wryly named Quint Quintet – comprising some of the world’s top talent in nuevo tango – playing a trio of Piazzolla classics. Bassist Pedro Giraudo anchored the songs with a spring-loaded pulse while Quint and bandoneon genius JP Jofre worked magical, angst-ridden dynamics while electric guitarist Oren Fader spiced them with measured, incisive figures. Pianist Octavio Brunetti led the group with a relentlessly mysterious majesty through a lushly crescendoing version of Milonga del Angel, then the rising and falling, utterly Lynchian Concierto para Quintetto and then a triumphantly pouncing take of Libertango. Quint favors a singing tone – he released an album of violin arrangements of opera arias a couple of years ago – so it was no surprise to see him literally give voice to the longing and passion in Piazzolla’s melodies.

Pianist Matt Herskowitz delivered an equally thrilling, all-too-brief set with his trio. Quint joined them for a jauntily swinging, exuberantly latin-tinged reinvention of Bach’s Cello Prelude, then a tender rendition of the Goldberg Aria. Herskowitz and the trio ended with a long, ferally cascading arrangement of a familiar Prokofiev theme. All three of these pieces will appear on a forthcoming album recorded by Quint with Herskowitz and his band.

There were also a couple of cameos with singer-songwriters where Quint proved himself adept at chamber pop and quasi-Romany jazz. This concert was a benefit for the Russian-American Foundation, known for similarly intriguing, cross-pollinational events, this one being the kickoff for their twelfth annual Russian Heritage Month. In Russia, classical music is a spectator sport: this audience, weighing in at about 50/50 Russian and American, responded with a Moscow-class enthusiasm.

June 1, 2014 Posted by | classical music, concert, latin music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Agile, Slinky Latin Jazz Cross-Pollination from Natalie Fernandez

Singer Natalie Fernandez has a genre-smashing new album out, Nuestro Tango, a collaboration with a shapeshifting band whose core is pianist Zaccai Curtis’ Insight. Curtis, a member of both Donald Harrison and Cindy Blackmon’s bands, knows a thing or two about cross-pollination. Likewise, his brother, bassist Luques Curtis, of Eddie Palmieri’s band, whose work obviously inspires this project. Fernandez, daughter of well-known tango singer Stella Milano, does a lot with a small voice, singing fluently in both Spanish and English, more animatedly in Spanish which probably makes sense since the Spanish-language numbers are livelier. Essentially, as Palmieri does so often, these tracks make Afro-Cuban jazz out of themes from further south of the border, in this case from Argentina and Uruguay. The rest of the inspired ensemble includes drummer Richie Barshay, Reinaldo de Jesus on percussion, Daniel Antonetti on timbales, Julie Acosta on trumpet, Tukunori Kajiwara on trombone, and Zach Lucas on tenor sax plus a multitude of special guests.

They open with Azabache, the first of the candombes, which gets a swinging, fat groove, a lithe Zaccai Curtis intro, a gem of a piano solo that’s far too short, a balmy horn chart…then they make a guaguanco out of it. Right there you have the band’s m.o. El Dia Que Me Quieras looks back to the famous Eddie Palmieri version but with more of a nuevo tango feel and coy, terse vocals from Fernandez. Like the first track, they swing it out with a cha-cha groove.

Adios Nonino probably isn’t the first song you might think of swinging, but Fernandez does it tenderly over an understatedly slinky beat lit up by Richard Scofano’s bandoneon. They follow it with Afrotangojazz, a vamping feature for percussion and bandoneon. Malena builds to an emotionally-charged, suspenseful crescendo – and then the percussion kicks in, and suddenly it’s a summery candombe-salsa romp. My True Love, a salsa-tinged jazz ballad co-written by the pianist and singer, gets an incisive, wood-toned bass solo and a hard-hitting break for drums and percussion.

Since this is a Curtis Brothers project (the two earned the top spot on the Best Albums of 2011 list here for their album Completion of Proof) it’s no surprise that there’s socially aware content, most vividly expressed in the elegant jazz waltz Free Me, with its moody bass solo and a thoughtful lyrical interlude delivered by hip-hop artist Giovanni Almonte Alberto Mastra’s El Viaje del Negro gets rapidfire bursts of lyrics, a brisk, poinpoint beat and a full-bore brass section. By contrast, Juan Carlos Cobian’s Nostalgias opens with eerily glimmering piano and a brooding trumpet line setting the stage for Fernandez’ wounded, angst-ridden vocals, intertwined with the bandoneon and a darkly gleaming horn chart. It’s the best and most epic song on the album. Fernandez winds it up with a torchy yet nuanced voice-and-piano version of Eladia Blazquez’s Un Semajente  It’s out now on Truth Revolution Records.

November 17, 2013 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Lush, Luxuriant, Relentless Intensity from JP Jofre and the Attacca String Quartet

It takes nerve to put your own string quartet on the program after an Astor Piazzolla work widely regarded as a classic, but that’s what bandoneon virtuoso JP Jofre did at SubCulture last night. Not only was it not anticlimactic; it would have made a good segue with the bill’s centerpiece, the late-period Piazzolla suite Five Tango Sensations. Jofre filled the time between the two pieces with a small handful of hard-hitting shorter works of his own before leaping into his String Quartet No. 1, joining with the Attacca String Quartet: cellist Andrew Yee, violinists Amy Schroeder and Keiko Tokunaga and violist Luke Fleming.

Jofre broke a sweat before the first piece, a stormy, bustling miniature, was over. Then he led the group into the lingering, wistful introduction to Piazzolla’s Five Tango Sensations. The suite was premiered by the composer with the Kronos Quartet at Lincoln Center in 1989 and remains one of the standouts in a late-career burst of creativity to rival pretty much any composer, ever. The “sensations” in the title are meant to describe specific emotions; the composer wasn’t bragging about how sensational the suite is…yet that’s a good way to describe it. The ensemble built it to lushly shifting, Rachmaninovian washes of strings, resolutely propelling a vamp that was a lot more bitter than sweet. Dynamic shifts, which the group worked like a charm all night, went from to darkly pillowy to leaping and insistent, developing the ominously chromatic central theme and then angst-fueled variations to an ultimately triumphant conclusion. In between, the strings carried a somber, noirish lament that made the payoff at the end all the more rewarding – and unexpected, for anyone hearing it for the first time.

From there Jofre mixed and matched a trio of smaller-group numbers, first a tender, hypnotic lullaby for his niece and then a marauding, rat-a-tat theme that evoked the cello metal of Rasputina before shiftting back and forth between atmospheric washes and a big, shivery bandoneon cadenza into a victoriously anthemic ending. An austere, rather elegaic bandoneon/cello duet was next. Then they tackled the String Quartet – which is actually a quintet, the bandoneon featured in its later movements. Throughout the composition, Jofre kept his collaborators on their toes as the variations moved briskly through an uneasy rustle, warmly anthemic hints emerging from moody atmospherics, the bandoneon leading the cello through a furtive chase scene to a big, rhythmic, stalking passage that deviously signaled the way out. They wound up the show with an explosive, anxiously bustling piece whose dark drama crept into crime-jazz turf and ended cold. The pretty much sold-out audience responded about as explosively as the music they’d just heard. For anyone in search of soul-wrenching, emotionally-charged tunefulness, Argentina is the place to look, with Jofre as one of its most original ambassadors.

November 8, 2013 Posted by | concert, latin music, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , | Leave a comment

Energetic, Eclectic, Haunting Sounds from the Jason Seed Stringtet

While echoes of Django Reinhardt and Astor Piazzolla pervade the Jason Seed Stringtet’s new album In the Gallery, the Milwaukee guitarist’s compositions are even more eclectic than simply a blend of Romany jazz and nuevo tango. He’s put together a formidable string band, playing acoustic alongside Glenn Asch on violin and viola, the Milwaukee Symphony Orchestra’s Helen Reich on viola and and Scott Tisdel on cello, and the Chicago Symphony’s Dan Armstrong on bass. Although these players come from classical backgrounds, there’s a lot of improvisation, and the band has a lot of fun with it. Armstrong gets to bow just as much as playing basslines; Seed likes acidic close harmonies, especially with the high strings, making an uneasy counterbalance with his sinuously precise, catchy lead lines.

Seed opens the album with a solo introduction into the Goulash Rag, a biting, dancing theme that runs closer to bolero territory. Swirling high strings hand off to a cello solo over dancing bass; they take it out with a flourish. The subdued, brooding Tangoesque offers an appreciative nod to Bill Frisell’s Strange Meeting, Seed’s guitar elegantly intertwining amid the stark arrangement, with edgy solos for cello, viola and bass and then the first of the album’s many trick endings. Pictures of an Exhibitionist has a bit of a funk edge to go with the tango and the Romany guitar flavor, capped off with a sailing, glissando-fueled violin solo. Ishtar opens with a dark, droning Middle Eastern-flavored low-register taqsim and morphs into a klezmer-esque dance, Seed adding an acerbic flamenco edge, the ensemble taking it out with a shivery intensity. Krakow’s central theme is like Django at his most plaintive, with a darkly searing cello solo, the viola following in the same vein, Seed taking it up anxiously and then gracefully down again.

\Where the Corners Meet features Yang Wei on pipa, a spiky, circular theme growing to a wistful but animated crescendo, Tisdel artfully shadowing the fretted instruments as it builds to anthemic proportions. In the Right Line follows a moody folk-rock trajectory, while Caterpillar Kif is the album’s big showstopper. Agitated strings switch back and forth with a wryly bluesy theme that Seed once again takes in a flamenco direction; it gets funkier, then Tisdel takes it dancing to yet another trick ending.

One in Five might be the album’s most intense track, with a brooding rainy day guitar-and-cello duet into more flamencoesque guitar, Tisdel’s soaring chromatics against Seed’s pensive, spare, rhythmic pulse. The title track closes the album, and it turns out that this is one haunted gallery: Seed’s long, nebulously spacious solo intro hands off to Armstrong, who supplies chilling, stygian sustained lines all the way through to a darkly ironic ending. A lot of people – fans of art-rock, jazz, classical and global sounds – are going to love this album. It’s one of the year’s best, whichever category you might think it fits (and realistically, it doesn’t really fit any, which helps explain why it’s so enjoyable).

August 21, 2013 Posted by | classical music, jazz, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , | Leave a comment

Intense, Epic Grandeur from Pablo Ziegler with the Metropole Orkest

Longtime Astor Piazzolla sideman Pablo Ziegler‘s new album with the Metropole Orkest, Amsterdam Meets New Tango is lush, towering, majestically symphonic and not infrequently noir. There’s typically more adventure and lyricism in Ziegler’s piano than there is on this album and that’s because his role here is as a soloist: the orchestra gets to color the compositions. For those who like Ziegler in a more central role, he’ll be leading his quartet at Birdland from July 30 through August 3. This is a chance to hear Ziegler’s ambitious, no-nonsense compositions in a live concert recording with a heft and bulk that would make Piazzolla proud.

The opening cut, Buenos Aires Report, a pulsing jetliner theme, gets a big, bustling Mingus-esque arrangement, building off Ziegler’s growling, introductory piano riff with crescendoing solos for muted trumpet and bandoneon. Quique Sinesi, the featured soloist on guitar, gets to lead a very direct version of his Hermeto Pascoal homage, Milonga Para Hermeto, moving matter-of-factly from moody atmospherics to a spiky, Romany-tinged guitar solo with lively variations on a bright central theme. The guitar also opens the distantly suspenseful, ominous Blues Porteno with a brooding, skeletal quality before the misty, portentous sweep gets underway. Desperate Dance builds toward creepy, carnivalesque allusions over an acrobatic 7/4 rhythm lit up by bandoneon and trombone solos, after which the entire orchestra gets in on the Lynchian romp.

Murga Del Amenacer is the most traditionally-oriented tango here, catchy and purposeful with the hint of an inner pop song, Ziegler finally taking it into shadowy noir terrain with a flourish as it winds up. Places – which sounds like the Piazzolla classic Ciudades as Carl Nielsen might have orchestrated it – runs suspenseful permutations on a slightly funky piano hook, again reaching memorably for a noir ambience as it winds down. By contrast, Pajaro Angel, a tv theme, is the most stripped-down number here, a vehicle for gently lyrical guitar and piano solos.

True to its title, Buenos Aires Dark reflects the desperation and  uncertainty of the 2001 political crisis during which Ziegler wrote it, a rising and falling tour de force that offers hope and then snatches it away in a second – the ending, with the percussion section going full tilt and foreshadowing disaster, is an absolutely knockout.  The final track, Que Lo Pario – a homage to Argentinian author and comic strip writer Roberto “El Negro” Fontanarrosa – blends unexpected elements like a circular African folk riff on the vibraphone with big ominous orchestral swells, haunted fairground percussion and Wes Montgomery-style guitar. Whatever you want to call this album – classical music, jazz or, if you want to be like the Argentinians and forget about those distinctions and just call it tango – it makes you wish you were there that winter night in Amsterdam in 2009 when this concert was recorded.

June 26, 2013 Posted by | classical music, jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

The Transatlantic Ensemble Gives Their New Album a Mighty Launch

Monday night the Transatlantic Ensemble Imani Winds clarinetist Mariam Adam and German pianist Evelyn Ulex – teamed up with nuevo tango bandoneon virtuoso J.P. Jofre for one of those semi-private concerts that are all the rage now (it wasn’t closed to the public, but you either had to know someone or get on the guest list). As you would expect from musicians of this quality, much of it was transcendent. Jofre and Adam shared a fondness for bittersweet ambered tonalities, and there were plenty of those, each of the artists at the top of their game. This was the album release show for the ensemble’s new one and if this performance was any indication, it must be superb.

The concert opened auspiciously with a series of pieces for clarinet and piano, beginning with Adam’s french hornist bandmate Jeff Scott’s Toccata. Ulex drove it into increasingly stormy, dancing, Piazzolla-influenced territory with a distantly bluesy undercurrent, Adam shifting in a split second from a crystalline pensiveness to bright, lively upper-register cascades. The first of three Paquito D’Rivera numbers, Invitation al Danzon, was exactly as Adam termed it, “a wonderful, hipswinging kind of piece,” juxtaposing increasingly brooding cantabile balladry with jaunty clarinet flourishes.

Ulex then delivered a comfortably expansive, satisfyingly nocturnal Schumann diptych, Fantasietucke, Op. 73. By contrast, her take of Rodion Shchedrin’s Basso Ostinato – a real workout written for a piano competition, replete with wryly rapidfire etude-like interludes – was a battle, one that gave her innumerable opportunities to emerge triumphant with her fingers still intact.

Jofre joined the duo for the night’s most gripping moments, first with a rather epic, hauntingly memorable, angst-fueled mini-suite full of noir bustle, electric dynamic shifts, a long, suspensefully carnivalesque bandoneon solo and finally a sense of closure with a surprisingly still, calm ending, something completely unexpected in the wake of all the fireworks. The trio then romped through Jofre’s Primavera, an insistently rhythmic, appropriately vernal song without words. Adam and Ulex closed with two selections from D’Rivera’s Cape Cod Files (a commission from a festival there), an anxiously elegaic Piazzolla elegy and then a lighthearted but surprisingly sophisticated, modernist Benny Goodman homage full of tongue-in-cheek swing and boogie-woogie japes.

January 16, 2013 Posted by | avant garde music, classical music, concert, latin music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Pablo Ziegler and Maya Beiser Tango Through Le Poisson Rouge

While it’s hardly necessary for a musician to be immersed in a particular style since childhood in order to play it well, growing up with a genre doesn’t hurt. Last night at le Poisson Rouge pianist Pablo Ziegler and cellist Maya Beiser celebrated their Argentinian heritage with a mix of Piazzolla classics and Ziegler originals, Satoshi Takeishi propelling the trio with a master class in restraint and subtle intensity behind the drum kit. Ziegler was a Piazzolla collaborator through the end of the composer’s life, and has been a major force in tango nuevo in his own right. Beiser is well known as a powerful and eclectic presence in the new-music scene: how does she approach playing Piazzolla and Ziegler? Like she’d grown up with them, dancing in her chair at one point as the trio kicked off the show with a bustling, noirish, Mingus-esque take of Piazzolla’s Michaelangelo 17. Ziegler’s arrangements and also his originals gave Beiser a launching pad for tracking down every bit of restless unease in the genre-spanning compositions: his part’s in his blood, meticulous yet forceful, whether driving the rhythm, adding jazzy flourishes or the occasional joyous glissando.

Ziegler recounted that Piazzolla enjoyed fishing for sharks, then led the group through the cinematic fish tale Escualo, Beiser reeling the line out with a perfectly timed microtonal swoop, kicking off its leaping, jaunty ballet-esque imagery all the way through to the big, slashing crescendo at the end. By contrast, the insistent longing in Piazzolla’s A Year of Solitude lingered vividly, as did a brooding, plaintive Ziegler piece that Beiser approached with a suspenseful vibrato, and a terse arrangement of Brazilian composer Egberto Gismonti’s Agua Y Vinho.

Introducing Piazzzolla’s Fuga Y Misterioso, Ziegler reminded the crowd how much of a fan of Bach Piazzolla was, and then reminded them again as Beiser played lively rapidfire riffage over Ziegler’s matter-of-factly precise baroqueisms. Beiser got a brief solo turn, playing Mariel, an aching, envelopingly atmospheric Osvaldo Golijov requiem originally written for cello and vibraphone, against her own recording of slow sustained notes and minimalist accents. As affecting as this was, it would have been even more interesting to have seen three cellists play it: there’s no telling how much more magic they might have been able to conjure up.

After a 1970s-era lullaby by Ziegler, the ensemble wowed what looked like a sold-out crowd with a plaintive version of Piazzolla’s Adios Nonino, then a swinging, somewhat satirical portrait of a macho doofus written by Ziegler and then closed with an impressively understated version of the iconic Libertango, its restrained, tense revelry a perfect resolution of the tension between Piazzola the pop tunesmith and Piazzolla the modernist composer. The crowd wanted an encore; they got an unselfconsciously beautiful rendition of Ziegler’s Muchacha de Boedo. Considering how much fun everyone onstage was having, let’s hope they keep this richly enjoyable project going.

February 2, 2012 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , | Leave a comment

Trio Tritticali’s Issue #1 – One of 2011’s Best Albums

Brooklyn string ensemble Trio Tritticali have just released their new Issue # 1, one of the most gripping, intelligent, richly eclectic albums of recent years. Drawing on elements as diverse as Egyptian dance vamps, the baroque, bossa nova, tango and European Romantic chamber music, they blend those styles together seamlessly and imaginatively for a bracingly intricate sound that’s uniquely their own. The chemistry between violinist Helen Yee, violist Leanne Darling and cellist Loren Dempster is intuitively playful. As the songs slowly unwind, the band exchanges thematic variations, converses, intertwines and occasionally locks horns, individual voices often disappearing or reappearing when least expected: they may be a trio, but there are surprisingly many moments when it’s only two or even one of them. They love minor keys, and have a thing for chromatics, no surprise considering that Darling also jams with the Near East River Ensemble. Yee also plays yangqin dulcimer in Music from China; Dempster also performs with the avant-garde Dan Joseph Ensemble and with well-known dance ensembles.

Which makes a lot of sense: Dempster’s rhythmic, often funky edge is key to this group, right from the title track, which alternates stark, dark funk, then goes quiet and mysterious, then finally explodes in a blaze of chamber metal. It’s the most dramatic moment on the album. They follow that with a bracing tango, La Yumba, which takes a detour into early Beethoven with a cello solo that rises imperceptibly until it’s sailing over the lushness of the other strings. The dynamic shifts in this one are especially yummy.

A long, suspensefully crescendoing Middle Eastern piece, Azizah begins with a casually ominous series of taqsims (individual improvisations), shifting methodically from tone poem to processional to triumphant swing, voices constantly shifting and handing off ideas to each other. By contrast, Corcovado is a nostalgic bossa ballad that takes a turn in a more wistful direction, Dempster’s brooding solo leading to an intricate, stately thicket of violin and viola. A jazz-pop song in disguise that goes unexpectedly dark, Stolen Moments is a showcase for Dempster’s walking basslines, pensively swinging lines and bluesy accents. The sarcastically titled Ditty is actually one of the album’s most stunning compositions, another long detour into the Middle East with a funky modal edge, a memorably apprehensive Darling solo and an equally memorable lead-in from Yee, who comes in buzzing like a mosquito with an off-kilter, swoopy edge while the cello and viola lock in an intense, chordally pulsing bassline.

The seventh track, Who Knows Yet is a gorgeous, starkly wary waltz with a series of artful rhythmic shifts and a series of bitingly bluesy variations – it reminds a bit of Rasputina in an especially reflective moment. Psychedelic and very clever, Sakura is a diptych: an austere tone poem with the cello mimicking a koto, then a pensive, minor-key 5/4 funk theme with yet more deliciously unexpected tradeoffs between instruments. The concluding tone poem, Heart Lake, evokes Brooklyn Rider’s adventures in Asian music, viola and violin trading atmospherics over Dempster’s hypnotic, circular bassline – it’s like Copal at their most ambient, with distantly Asian motifs. This is one of those albums where every time you listen to it, you’ll discover something new – you can get lost in this music. With compositions like this, it won’t be long before Trio Tritticali will be playing big stages like Symphony Space; for the moment, you can catch them at low-key Brooklyn brunch spot Linger Cafe (533 Atlantic Ave. between 3rd and 4th Aves) on frequent Sundays – the next one is December 10 – starting around 1 PM.

November 24, 2011 Posted by | classical music, middle eastern music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments