The NY Gypsy Festival Closes Summerstage With a Blast of Sound

Year after year, the NY Gypsy Festival remains one of New York’s most consistently exciting concert series. There are four shows remaining, all of them at Drom: flamenco band Espiritu Gitano on the 30th; eclectic world dance group Delhi 2 Dublin on October 1; ferocious Balkan brass with Veveritse Brass Band and Zlatne Uste on the 2nd, and the Django Reinhardt tribute on the 3rd with Stephane Wrembel and Balval. A festival pass is $32, which translates to $8 a show, or about six bucks a band. But a vastly more persuasive enticement for prospective concertgoers was put on display Sunday at Central Park, with upbeat and often deliriously fun performances by a global cast including Yuri Yunakov, Tecsoi Banda, the NY Gypsy All-Stars and Mahala Rai Banda.

Yunakov hails from Bulgaria, where he famously collaborated with the legendary Ivo Papasov. Wedding gigs there got out of hand when literally thousands of people would crash the party to see them. Running his alto sax through a glistening veneer of reverb and delay, his tone was so close to a string synthesizer at times that it was hard to differentiate between him and his two keyboardists. But when he’d light into a casually frenetic solo riddled with lightning, chromatic doublestops, there was no doubt it was him. In fact, everyone in the band made it look easy, including his sparring partner, clarinetist Salaedin Mamudoski and also his percussionist, who kept a smoothly sputtering clatter going throughout the set, adding a hypnotic edge. Chanteuse Gamze Ordule joined them as they introduced her with a tongue-in-cheek striptease theme and added a bracing, throaty insistence as she swayed and undulated out front. One of her vocal numbers bounced along on almost a reggae bassline; another was a punchy, cocek-style dance. For all the ominous, brooding minor keys and bracing chromatics, it was a party, as the growing line of dancers to the left of the stage made absolutely clear.

Tecsoi Banda had made their North American debut the night before at the Ukrainian National Home, but they hit the stage ready to party again. Like American blues musicians of the 1920s and 30s, they’re all-purpose entertainers. They’ll do a Russian Orthodox wedding, a Jewish one, it doesn’t matter: they’re sort of the ultimate Ukrainian roots band. With Joska Chernavets on accordion, Ivan Popovych on fiddle, Vassili Gudak sadly pretty much inaudible on his tsymbaly (a kanun-style hammered dulcimer), bass drum player/singer Juri Chernavets with his little plastic mouth flute that he’d occasionally squawk on like a Jamaican with a whistle at a reggae show, and American klezmer fiddler Bob Cohen sitting in and adding a brisk intensity, they ran through a mix of upbeat and more stately material. As far removed from Ireland and Appalachia as their music is, there were familiar licks and melodies that wouldn’t be out of place in an Irish reel or a bluegrass breakdown. They used a lot of dynamics, varying their tempos, going doublespeed and then back again. Their best numbers had a somber, minor-key klezmer tinge; they closed with a couple of scurrying Carpathian dances, the second one finally featuring a funny solo from the drummer’s mouth flute.

The NY Gypsy All-Stars had the most modern sound, which ironically gave them the most authenticity of any of the acts on the bill: their fusion-tinged bounce is the one you’ll find in clubs all the way around the Black Sea. Compounding the irony is that they kept it very terse: Jason Lindner’s electric piano and Pangeotis Andreou’s five-string electric bass never took it to Jaco-land. Frontman/clarinetist Ismail Lumanovski is one of this era’s giants of the instrument – check him out sometimes with the Grneta Duo +1 with Vasko Dukovski and intense pianist Alexandra Joan for his more austere, purist side. Like Yunakov, he has blistering speed, but he doesn’t make it look easy: there’s an untamed, feral side to his playing that contrasted well with guest Selim Sesler (a frequent sparring partner). Sesler may be known as the Coltrane of the clarinet but his style is closer to vintage Lee Konitz, or for that matter, Miles Davis, and he chose his spots to cut loose against Lumanovski’s barrages. The rapidfire rivulets flowing from Tamer Pinarbasi’s kanun added yet another layer of turbulence, a very good thing considering the slick sonics.

By the time the headliners, Mahala Rai Banda (which in Roma, the gypsy language, means “hot ghetto band”) hit the stage, the occasional drizzle had subsided and the arena was clearly filled to capacity, most everyone dancing. The eleven-piece Romanian brass orchestra may play traditional instruments, but their vibe is pure gypsy punk (Gogol Bordello, naturally) with a frequent ska beat and the occasional hint of reggae or hip-hop. And with all those horns, the sound is titanic: they use them the way Gogol Bordello use guitar, at full volume. Accordionist Florinel Ionita is their lead player, blasting through one supersonic, microtonal riff after another, Peter Stan style, with the pulse of the tuba and the drum skulking behind the horns’ chromatic assault. They even did a song with an oldschool disco beat – for whatever reason, the crowd decided that was the time to pelt the band with the cheap foam rubber frisbees that were being handed out (BAD idea). Another hitched an oldschool American soul feel to a dancehall reggae interlude. But the best was what they started with, three blistering, anthemic minor-key numbers that shifted tempo suddenly, hitting the crowd with a trick ending and then restarting when least expected. They ran out the clock until their last second of stage time with a long series of outros: the crowd wanted more but didn’t get them, sending this year’s Summerstage series out on a deliriously high note.

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A Stunning Black Sea Music Summit at the Met

Billed as Strings of the Black Sea, yesterday’s show at the Metropolitan Museum of Art lived up to the boast made by the organizers’ emcee beforehand: it truly was a landmark concert. It was a New York Eastern European music summit, sort of the Black Sea equivalent of those early 60s Rolling Stones Revues with short sets from a nonstop parade of icons like Howlin’ Wolf, Ike & Tina Turner, Otis Redding et al. The emcee wished aloud for a series of full-length concerts by each of the individual performers here next year, a wish that deserves to come true. As with Debo Band at Joe’s Pub on Friday, there was incongruity in seeing most of them rip through one adrenalizing dance number after another in front of a relaxed, comfortably seated crowd in the museum’s sonically superb Rogers Auditorium. But the audience was energized; the ripple of excitement after it was finally over was impossible not to connect with..

Christos Tiktapanidis got the party started, solo on politiki lyra fiddle (also known as a kemence). What he casually introduced to the crowd as slow was fast and what was fast was lightning-fast, a bracing display of fingerboard wizardry, all split-second doublestops, through a crescendoing opening taqsim (improvisation), a stark levantine dance and a happier number that lept from 5/8 to 7/8 time. Beth Bahia Cohen and Ahmet Erdogdular followed with a brief duo set on the Turkish tanbur lute: she bowed hers, holding it upright like a fiddle while he played his guitar-style with a pick. The two doubled each others’ lines effortlessly through another opening taqsim, stately songs from the 18th and 19th centuries, a rapidfire dance by Cohen on kemence and then an inspired, chromatically charged dance number sung by Erdogdular, who’s rightfully earned acclaim as one of Turkey’s foremost exponents of highly ornamented traditional Ottoman singing.

Julian Kytasty brought the lights down with a somber, haunting solo performance on the wide-bodied Ukrainian bandura, a sort of cross between a concert harp and a lute that frequently took on the incisively pinging, staccato tone of a qanun or a cimbalom. He began with a rueful number sung from the point of view of a dying warrior, encouraging his young protege to pick up where he fell. He explained that the blind minstrels who’d traditionally played this repertoire had been brought to extinction in the Stalinist terror of the 1930s. “Singers are never popular with the powers that be,” Kytasty reminded, in a song that “could be straight out of today’s headlines,” a brutally cynical number detailing how truth gets trampled underfoot and thrown into prison while lies are held high for all to see, to be celebrated by the status quo. His dynamically-charged, virtuosic picking took on a flamenco edge on another lament that he managed to fingerpick while simultaneously tapping out a beat on the body of the instrument.

Nikolay Kolev played solo on the Bulgarian gadulka fiddle, an instrument which has grown many additional strings over the last century: his has fourteen, including the resonating, sympathetic ones. He immediately took the intensity to redline, on a couple of wild, hypnotic, rhythmically tricky minor-key dance tunes, a ruthlessly, fluidly efficient romp in the Middle Eastern hijaz mode that began with yet another taqsim and an anthemic tune in 6/8 that vividly and uneasily bridged major and minor without quite being either. The final act paired violinist Nariman Asanov, one of the foremost (and few) Crimean Tatar fiddlers in the US, with ubiquitous and characteristically energetic, witty accordionist Patrick Farrell (who seems to pop up on practically every first-rate Balkan music bill in town, and leads the absolutely hilarious, unique Stagger Back Brass Band). With a singlemindedness that made it seem as if they’d played together for years, they slowly fanned the embers of a violin taqsim over an accordion drone until they were blazing and then romped through a brief series of fiery, minor-key dances, one with a wickedly catchy klezmer feel. Farrell finally got to solo as Asanov held the rhythm down and made the most of it. The entire crew, minus Kytasty (who needed a chair and mysteriously wasn’t provided with one) encored with a simple, memorable Anatolian folk tune, seemingly a tea drinking anthem, Erdogdular’s unamplified vocals soaring over the song’s darkly tinged, chromatic four-bar hook. The next concert in this series is at the Ukrainian National Home on September 25 at 7 PM featuring the North American debut of Ukrainian sensations Tecsoi Banda.