Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Playful, Entertaining, Dynamic New Album of Genre-Busting String Music From the PubliQuartet

You could debate whether the PubliQuartet’s latest album What Is American – streaming at Bandcamp – is punk classical, or the avant garde, or string jazz, or oldtimey string band music. You’d be right on all counts. The foursome of violinists Curtis Stewart and Nick Revel, violist Jannina Norpoth and cellist Hamilton Berry have a great time reinventing an iconic classical quartet, a couple of famous jazz numbers, and unveil a handful of world premieres that defy category. The central theme is exploring the many threads that make up what we might call American music. While it’s a lot of fun and eclectic to the extreme, the group also don’t shy away from themes of segregation or discrimination: again, highly relevant in the wake of the March 2020 global takeover attempt.

The group intersperse their own miniatures in between several of the pieces, taking turns narrating an Oliver Wendell Holmes text. “Down, down with the traitor” – powerful words for 2023!

The first work on the album is improvisations on Dvořák’s “American” String Quartet, No. 12, Op. 96. Movement one sets the stage: this is punk classical. spiked with slashes, slow drifting tones and percussive extended technique within a straightforward proto-Gershwin march. While the group blend several unembellished themes from the original, their reinterpretation is more brief.

They put a lively pizzicato swing beat to the lento second movement, when they’re not adding flitting, ghostly harmonics to the rustic oldtime gospel theme. Interestingly, the molto vivace third movement is a lot more circumspect and spacious in places. The quartet punch in hard with a march on the final movement, then back away with a hazy, contrapuntal chorale over loopy, jagged harmonics: if they recorded this live, it’s all the more impressive how they handled this polyrhythmic maze.

The ensemble build Rhiannon Giddens‘ At the Purchaser’s Option from stark oldtime blues-flavored trip-hop to a mighty anthem. Likewise, they turn Fats Waller’s Honeysuckle Rose into shivery indie classical and jaunty ragtime, with a voiceover by A’Lelia Bundles. In a diptych of Ornette Coleman’s Law Years, they veer from anthemic intensity to flickering disquiet and jaggedly dissociative blues.

The opening movement of the world premiere of Vijay Iyer‘s relatively brief string quartet Dig the Say is Carry the Ball. a jauntily swaying, riffy theme over hypnotic, rhythmic pedalpoint. The second movement, This Thing Together is equally hypnotic, but in a hazily drifting way. Movement three, Up From the Ground is bouncy and has handclaps; the final movement, To Live Tomorrow wraps it up with a jaggedly opaque edge. Iyer’s milieu may be jazz, and a lot more expansive than this, but this is a triumph of tight, genre-resistant tunesmithing.

Another world premiere, Roscoe Mitchell’s CARDS 11-11-2020 is the most ambient, minimalist and astringent work here, punctuated by echo effects and plucky pizzicato before an unexpectedly lively, acerbic coda.

The ensemble wind up the record with a medley of four covers from the worlds of soul and blues. They reinvent Tina Turner’s Black Coffee as a quasi-spiritual in 6/8 time, then bring a biting blues edge and slithery extended technique to They Say I’m Different, by Betty Davis. The driftiest, most sepulchral piece here is Alice Coltrane’s Er Ra, although the group can’t resist rising with a triumphant if whispery lattice of harmonics. They close by digging triumphantly into a determinedly swinging take of Ida Cox’s Wild Women Don’t Get the Blues.

The PubliQuartet don’t have any New York gigs coming up, but Giddens is playing an intriguing show on Jan 12 at 7 PM at the Rogers Auditorium at the Metropolitan Museum of Art, where she’s joined by pianist Howard Watkins and a cast of singers in a salute to the thirty thousand slaves who escaped captivity prior to the Civil War. You can get in for $35.

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January 6, 2023 Posted by | avant garde music, blues music, classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Smallz and Dwight & Nicole Live at Banjo Jim’s, NYC 1/24/08

The game plan was high-concept:  to review two New York sirens at the absolute peak of their powers. But like so many high concepts it backfired, courtesy of a lack of contingency for late trains, and the fact that Amanda Thorpe had started her solo set on time and didn’t play for very long. At the end, she indulged the audience with a request, the title track to her new cd Songs from Union Square – which you’ll be reading about, very soon – and held the audience in the palm of her hand, as usual. She hadn’t rehearsed the song for this show, and when she came to the chorus, she stopped playing and did it a-capella. Just hearing that soaring, starkly emotional voice by itself made the whole ordeal of getting to the club worthwhile.

Keyboardist/singer Greta Gertler’s new band the Smallz (which may be a shortlived name, considering that Edmonton punks the Smalls are something of a legend in the Great White North) was next. Gertler – whose song Edible Restaurant, the title track to her new cd, was NPR’s song of the day last week – is nothing if not imaginative, and this unit is clearly her fun project. It gives her a chance to be as devious as she can be, which is extremely. Sharing the stage were Groove Collective bassist Jonathan Maron, who plays his instrument like a great lead guitarist, and multi-instrumentalist Rob DiPietro who doubled on drums and guitar, sometimes playing both at once, guitar in hand and foot on his kick pedal. Maron stole the show tonight with several solos, one which ran for about five minutes during an instrumental late in the set, filled with chords, bent notes and finally a searing, incisive run where he hit his octave and distortion pedals to perfectly recreate a guitar sound. From what they played tonight, DiPietro’s thing appears to be ruminative, slightly jazz-tinged pop songs (which he played on guitar). With tongue planted firmly in cheek and a frequent smirk on her face, Gertler was clearly reveling in the chance to go wild with her space echo effect and play some real funk, neither of which she gets to do much in her regular band, which has been off on a terrifically authentic oldtimey tangent lately. They closed with a delightful number driven by Gertler octaves which could have been a spot-on parody of early 80s synth new wave, or it could have been an actual hit from the era: imagine Kim Wilde’s Kids in America with some actual substance and a real long, psychedelic outro. Maron went up and down on his octave pedal for a siren effect at the end. Shows like this bring back fond memories of the days when there was a pot dealer on every corner of Avenue C, from Houston up to 14th. With this band, there was no need for drugs: they were the drug. Let’s hope they keep this unit together and find a name that sticks.

Add Dwight & Nicole to your list of must-see acts: if you like real, passionate, old-fashioned soul music that works on your mind as much as your heart, you owe it to yourself to discover them. The obvious comparison is Ike & Tina Turner, but beyond the fact that the duo is a brilliant guitarist and equally brilliant soul singer, it doesn’t go any further than that. Tastefully and subtly fingerpicking his Gibson Flying V guitar, Dwight Ritcher showed off his impeccable, purist feel for vintage soul and blues, which Nelson shares. With a voice like maple sugar, sweet but crystal clear, her subtle phrasing reveals her jazz background. Their myspace page likens them to Ella and Jimmy Rushing: it would be interesting to hear them dive into that repertoire (they have a Blue Note show coming up in the spring – why not?). Dimes to dollars they’ll nail it. Tonight they played an absolutely riveting set of mostly originals. Their best song of the night, Johnny Gets High – basically a one-chord vamp that sounded straight out of the Bill Withers songbook – slowly built tension until an explosion of gorgeous harmonies on the verse, chronicling the tribulations of a guy who wants to keep his life together but can’t resist the pipe, or the needle, or whatever it is he does. A little later they did a completely unselfconsciously romantic take on the old Slim Harpo classic Hip Shake, Ritcher’s nimble, walking bass contrasting with Nelson’s warm, summery Sunday afternoon vocals. Nelson’s tribute to her grandmother, an impatient soul who just wanted to get off Staten Island and get away, was a honeyed, straight-up pop song. They closed with another original that evoked Little Wing, Nelson crooning over Ritcher’s gentle, sparsely Hendrixian chordal work. The two were followed by Gary Wright, who thankfully didn’t do Dream Weaver (sorry, Gary, we know you hear this all the time). Of course, it wasn’t the Spooky Tooth guy: this Wright is infinitely better, a lefty guitarist who contributed tasty blues licks on a Dwight and Nicole song and later did a set of his own, solo, eventually running through a long cover of what is arguably Bob Marley’s best song, Burning and Looting, a spot-on critique of how the persecuted beat up on each other rather than taking out their frustrations on those who persecute them. Ritcher played piano on that one, revealing that roots reggae is possibly the only style of music he doesn’t know like the back of his hand. Dwight & Nicole will be at Banjo Jim’s starting around 9 every Thursday, giving them a chance to build up the fan base here that they so much deserve.

January 26, 2008 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment