Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

An Intense, Riveting Album and a Midtown Show by the Sirius Quartet

The Sirius Quartet  – violinists Gregor Huebner and Fung Chern Hwei, violist Ron Lawrence and cellist Jeremy Harman – play seriously exciting, tuneful, sophisticated music. They’re the rare chamber ensemble who can strike a chord with fans of heavy rock, psychedelia and jazz in addition to the indie classical crowd. They’re playing on an intriguing twinbill, with special guest violinist Tracy Silverman, tonight, Jan 5 at around 9:30 PM at Club Bonafide that makes more sense thematically than you might think. Longtime Astor Piazzolla collaborator and nuevo tango pianist Pablo Ziegler and his ensemble open the night at 7:30, cover is $15 and the club’s webpage notes with some relish that you’re welcome to stay for both acts at no extra charge.

The Sirius Quartet’s latest album Paths Become Lines is streaming at Spotify,  opening with its title number, a pedal note shifting suspensefully between individual voices, pulsing with a steely precision as the melody develops elegantly and tensely around them. The darkly bluesy, chromatically-charged exchanges that follow are no less elegant but absolutely ferocious.

The second number, Ceili, is a sharp, insistent, staccato piece, in a Julia Wolfe vein. Plaintive cello interchanges with aching midrange washes; it grows more anthemic as it goes on. Jeff Lynne only wishes he’d put something this stark and downright electric on ELO’s third album.

Racing Mind builds to a swinging jazz-infused waltz out of a circular tension anchored by a bubbly cello bassline that gets subsumed almost triumphantly by tersely shifting and then spiraling riffage. Spidey Falls! is a cinematic showstopper, a frenetic crescendo right off the bat giving way to a harrowingly brisk stroll that’s part Big Lazy crime jazz, part Bernard Herrmann and part Piazzolla, then an acerbically circling theme in a 90s Turtle Island vein before the cell digs in and a violin solo signals a return to the turbocharged tarantella. String metal in 2017 doesn’t get any more entertaining than this.

The next piece is a fullscale string quartet. Slow, austere, staggered counterpoint gives way to an insistent chase theme that calms slightly and goes marching, with a hint of tango. The second movement, Shir La Shalom is slow and atmospheric, a canon at halfspeed that builds to a wounded anthem. The third opens with stern, stark cello but quickly morphs into a syncopated folk dance and increasingly rhythmic variations. The breathless, rather breathtaking conclusion mashes up Piazzolla at his most avant garde, early Bartok, swing jazz and furtive cinematics.

Get In Line, a staggered, chromatic dance, veers toward the blues as well as bluesmetal, spiced with an evil, shivery glissandos and tritones, suspenseful pauses and an allusively marionettish cello solo. The album winds up with its most expansive number, Heal and its series of variations on a hypnotic, pizzicato dance theme that finally rises, again in a tango direction, to fearsome heights. Other than the Chiara String Quartet‘s relevatory Bartok By Heart double-cd set, and the Kepler Quartet‘s concluding chapter in their wild Ben Johnston microtonal quartet series, there hasn’t been a string quartet album this exciting released in many months.

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January 5, 2017 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Phil Dwyer Orchestra Sweeps Through the Seasons

The cover of the Phil Dwyer Orchestra’s new album, Changing, depicts what looks like the storm from hell barreling down the highway, the one that Pierre de Gaillande warned about. Which on one hand is what you might expect from a bunch of Canadians. Just as Vivaldi did, composer/multi-instrumentalist Dwyer’s four-part suite follows a seasonal trajectory here, beginning with Spring and taking it all the way through to when that hellish storm would be most likely to hit. Is this classical music or jazz? It’s both, sometimes both at once, it’s absolutely gorgeous and it gets better as it goes along. When’s the last time you heard an entire almost 40-piece orchestra play a sweeping, majestic crescendo in 10/4 time?

Throughout the album, violinist Mark Fewer is the featured soloist: he’s a good choice, foreshadowing the main theme with a sly quote from Pink Floyd’s Wish You Were Here. Fewer and pianist Chris Gestrin bring it in austerely and bracingly. From there the orchestra rises and falls, majestically and lushly, with big, ambitious Gil Evans-influenced charts, through a bucolic, Turtle Island Quartet-style dance, many artful exchanges of voices, hints of the blues as the brass rises and finally a bright, brisk Gestrin solo. As many ideas as there are here, they’re orchestrated, and articulated by the ensemble, with a seamless and joyous precision.

Summer is a nocturne, and a somewhat nostalgic one. Fewer channels contentment, but Dwyer’s tenor sax solo cleverly avoids anything resembling that, serving and dodging and doing anything to avoid resolution until he finally hits it head on and hands it off triumphantly to the clarinet. From there, the orchestra emphasizes its warm buoyancy as a jazz waltz.

The charts for Autumn are to die for, a model of restraint with distantly swirling and sweeping strings, lingering brass, counterintuitive Jon Wikan drum breaks and a trick ending. The bass introduces an insistent, bolero-tinged theme that Fewer uses as a launching pad not for bittersweetness but for incisive contemplation. This isn’t a requiem for a more blissful past – this is bliss, if a soberly aware one, seizing the day as it comes along. Likewise, Winter whispers in with tinkly piano and distant swirls of strings, and then gets funky, then goes swinging, Fewer introducing a characteristically thoughtful, pensively fluttery Ingrid Jensen trumpet solo. For Canadians, winter isn’t a death metaphor: this is when the fun really starts, and Dwyer winds up the suite with a vigorous ebullience as Fewer sails overhead, austerely but approvingly. There’s so much more here that would take pages to chronicle: from here, the joie de vivre is all yours. Count this is as one of 2011’s best and most emotionally rewarding albums in any style of music.

November 13, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment