Concert Review: Mavrothi Kontanis at Barbes, Brooklyn NY 4/30/10

Seeing Mavrothi Kontanis at Barbes last night was a time warp back to a secret, revolutionary taverna in an Athens (or Istanbul) of the mind around 1936. Kontanis is an acknowledged virtuoso of the oud, an educator and the author of books on oud technique and is every bit the player you’d expect from someone with that background. The oud has been around forever and has an otherworldly resonance, a distant echo of the millions who’ve put their souls into the instrument over literally millennia. Alongside Kontanis’ soulful reverberation, voilinist Megan Gould and percussionist Timothy Quigley – who seems to be to Barbes what Willie Dixon was to Chess Records’ studio – added textures and lines that matched and then diverged, sometimes hypnotic, other times fiery and intense.

Much of the material they played was taken from Kontanis’ two 2008 cds (both ranked high on our list of best albums that year), notably an irresistibly woozy, sly version of the self-explanatory rembetiko ballad Ouzo. The trio opened with a segue of old songs from Athens and then Smyrna, Kontanis throwing the occasional sharp chord in among his fluid, snaky arabesque lines to raise the energy level, Gould firing off a solo that sizzled with trills at the top of the scale. Another Arabic-flavored one saw the two string players doubling each others’ lines with a casual rapport that bordered on the telepathic. Quigley put down his dumbek (goblet drum) and switched to the boomier riq frame drum on a rearrangement of a swaying, insistently psychedelic bouzouki song from around 1960 – “New for us is 1940,” Kontanis laughed. An audience request was ablaze with Kontanis’ tremolo picking and got even hotter when Gould went soaring over the melee; another rumbled along to a tricky 15/4 beat. Toward the end, they did a winsome number about a heartbroken drunk, finally wrapping up over an hour’s worth of music in a hypnotic, rattling blaze of oud chords, staccato violin and percussion. Plenty of tavernas around town have music but not like this. Mavrothi Kontanis has an intriguing residency coming up at 1:30 PM at the Silk Road exhibit at the American Museum of Natural History on May 9, 23 and 30; he’s back at Barbes on June 11 at 8.

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CD Review: Las Rubias del Norte – Ziguala

The new cd by las Rubias del Norte would make a great Bunuel soundtrack. Otherworldly, surreal and frequently haunting bordering on macabre, it’s a characteristically eclectic, syncretic mix of old songs from around the world done as Veracruz’s best musicians might have imagined them circa 1964. Most of the melodies are in minor keys, the perfect backdrop for the sepulchrally soaring harmonies of the band’s two frontwomen, Allyssa Lamb (who’s also the band’s keyboardist) and Emily Hurst. Lamb and Hurst are a lot closer to Stile Antico than Shakira (or Jeanette, who sang the 1976 latin pop classic Porque Te Vas that the band turn into ghostly, organ-driven reggae to open the album). Which the two ought to be, considering that they met as members of the New York Choral Society. As the band’s website aptly points out, the album is more psychedelic rock than latin, “the opposite of Rock en Espanol,” even though most of the lyrics are in perfectly enunciated Spanish.

The title track is a Greek rembetika song with a bluesy, oldtimey gospel verse that gives way to a latinized chorus, followed by a clip-clop clave number a la Don’t Let Me Be Misunderstood, shuffling along with the muted strokes of Olivier Conan’s cuatro. A slyly levantine-inflected S.D. Burman Bollywood number lights up with Lamb’s eerily twinkling piano and the lushly brisk atmospherics of the Parker String Quartet, while a Brecht-Weill song gets an oversize margarita, a big sombrero and a balmy, slightly Jerry Garcia-ish electric guitar solo from Giancarlo Vulcano.

The rest of the album alternates psychedelia with stately, period-perfect angst and longing. A couple of the songs are dead ringers for Chicha Libre (with whom this band shares two members, Conan and percussionist Timothy Quigley). Navidad Negra turns a Caribbean big band number into cumbia noir, Lamb’s sultry organ passing the torch to Vulcano, who takes a surprisingly biting turn, while the traditional Viva La Fiesta becomes the theme to the saddest party ever. They close with hypnotic, classically inflected tropicalia that throws some welcome shade on the pitch-perfect brightness of the vocals, a Bizet cover bubbling with Lamb and Hurst’s contrapuntal sorcery and a downcast ballad, restrained melancholy over funeral-parlor organ. It’s gentle, scary and beautiful like just about everything else here. Look for this one high on our best albums of 2010 list at the end of December. Las Rubias del Norte play the cd release show for the album this Friday, March 12 at 7:30 PM at Joe’s Pub followed by a midwest tour.

An Astonishing Debut from the Next World Music Star

Remember this name: Mavrothi Kontanis. You heard it here first. In a remarkably ambitious and even more remarkably successful display of musicianship, scholarship and archivism, oud virtuoso Kontanis is simultaneously releasing two brilliant albums of Greek songs, with a cd release show at Alwan for the Arts this Friday, June 13 at 9. The first, Sto Kafesli Sokaki is an alternately haunting and rousing collection of Greek, Turkish and Cypriot songs from the 1920s and 30s influenced by the influx of refugees from Turkey who brought their slinky shakecharmer music with them in the years after World War I. The second, the ironically titled Wooden Heart also includes a mix of sensationally good, vintage obscurities along with several equally superb original songs. While Kontanis’ core audience will obviously be those who speak the Greek and Turkish of the lyrics on these two cds, any adventurous listener, anywhere in the world will find each of them an irresistible melodic feast. It’s impossible to imagine anyone hearing one of these albums without wanting the other.

As a player, Kontanis has sensational chops: he’s in the same league as Simon Shaheen, but more terse, less inclined to wild excursions than meticulously plotted conspiracies among the notes. More often than not, he leaves it to the band to embellish the melodies, especially violinist Megan Gould, who serves as lead instrumentalist for the most part here since many of the songs on Sto Kafesli Sokaki are basically a duo between her and Kontanis. Clarinetist Lefteris Bournias – whose breathtaking, lightning-fast solo on Arapina, from the first cd shows off his scorching chops – with politiki lyra player Phaedon Sinis and somewhat ubiquitous percussionist Timothy Quigley (who propels the delightfully fun Chicha Libre) round out the cast.

Disabuse yourself of any preconceptions you may have about Greek music: this isn’t what you’d typically hear in your average taverna in Astoria on a Saturday night. Rather, it harkens back to the era just before the psychedelic, hash-smoking, politically charged music known as rebetika emerged in the Greek resistance underground in the late 20s and 30s. Both the originals and the covers on these two albums blend the hypnotic ambience of Levantine dance music with the often savage chromaticism of Turkish and gypsy music, set to a tricky, circular Mediterranean beat. Most of it is dark and pensive: highlights of the first cd include the viscerally anguished Armenita as well as Etsli Marika Dhehome, featuring a pointillistically incisive solo from Anastassia Zachariadou on kanun (a sort of Mediterranean zither, similar to the cimbalom, played with mallets to produce a pinging, staccato sound, like an amplified harpsichord but with more reverb). Ouzo is a deliberately maudlin number, Kontanis’ amusingly over-the-top vocal rendition of the narrator’s beer goggles (or, in this case, ouzo goggles) making them obvious even to non-Greek speakers.

Wooden Heart (referring to what an oud is made of) is where Kontanis’ heart is, an equal display of soul and chops. The opening cut, Wooden Kite soars and crescendoes imaginatively; Kontanis opens the shape-shifting, violin-fueled original Nikriz Longa with a thoughtful, incisive taksim (solo improvisation) as he does onstage with most of his material, including the following instrumental Ushak Saz Semal.

To Kontanis’ immense credit (at least to Western ears), it’s next to impossible to distinguish his originals from the archival gems on these albums (where he found them is anyone’s guess – and probably the equivalent of a doctorate worth of digging). For fans of great bands like Magges, Luminescent Orchestrii and the aforementioned Simon Shaheen’s older work, as well as anyone caught up in the gypsy music craze, both these cds are must-owns. What the Silk Road Ensemble was to the early zeros, Kontanis is to the later part of this decade, a master of many styles but most of all his own, for that reason one of the most exciting new artists to come around in the last several years.