My latest review for All About Jazz is of a recent performance by Mat Maneri and Lucian Ban, who presented pieces from their ECM album, Transvylvanian Concert, as well as new compositions. Click my photo from the performance below to read on.
(Photo credit: Rachel Eliza Griffiths)
March 28, 2017
Cornell University, Kiplinger Theater
I can tell you that Alicia Hall Moran is a singer with countless biographies woven into her lungs; that Rachel Eliza Griffiths and Lyrae Van Clief-Stefanon are poets of vast interpersonal awareness; that LaTasha N. Nevada Diggs is a sensitive purveyor of visual and sonic incisions. But this conveys only who they are on paper and not what they became in person when their forces cross-pollinated in Cornell’s Kiplinger Theater on March 28, 2017.
The title of their performance, THROUGHLINE, felt like both descriptor and mission statement as they drew lines through the curio cabinets of our minds even while rearranging them, jumping from soul to soul until only a singularity of verbal perfume was left. Amid top notes of citrus and spice, girlhood’s questioning turned into womanhood’s indestructibility and floral mids scented the skin of forgotten children, while a base of grasslands and burnt umber evoked the muck of conflicting narratives from which these four singular artists excavated common themes.
Moran’s voice carried ahistorical futures written in historical registers. Presenting selections from her debut album, Heavy Blue, as well as new songs composed around the poetry of her sisterly collaborators, Moran spotlighted the nooks of maturation in which understandings take deepest root. Whether intensifying her mezzo brilliance in the original “Open Door” or modernizing the spirit of John Dowland’s “Flow My Tears,” she proved that emotional celebrities must first unlock their own silence before preaching to the silenced. Throughout her collage of serenades and broken dreams, she pulled at the seams of self-proclamation until “self-” dropped off and fell into the lottery of brighter tomorrows.
Griffiths likewise blurred languages of light and grain, ever the auditory bokeh in our depth of field as listeners. She took Moran’s photorealistic impulses of yearning and spun them into a pastiche of reflections. Her lyrics were odes to lived experience. Through pulling of moon and tide, creation and womb, a life-giving dance took place in everything she embraced. In her world of submarine maternity and spirits within spirits, she rendered birth pangs as tactile substances to be fashioned into words. Like a child looking upon her mother for the first time, every poem was precious and beyond worthy of the swaddling by our attentions.
Van Clief-Stefanon drew a vertical axis to Griffiths’s horizontal, exploring hierarchies of musical impulses, chemical time signatures and the types of choices that fuel epiphanies of social justice. Her breaths of transitioning spring held their shape despite the infernos of ignorance that have beset our present age, and tipped her scales of allusion toward the popular canon — polishing, for instance, Rihanna’s diamond until its dark matter threw open the wings of an intergalactic politic. Pulling names from the depths of her blood, she homed in on key tones of physical relationships and lifted valor with gloved tongue as an object worthy of study. Flipping over male dominance like a fish in a pan, she captured its briny smoke in her nostrils and exhaled sweet critique.
Diggs’s conveyance of videos and stills taken by Griffiths was the rhythm section behind the soloists, to which she added her own interdisciplinary foraging as filtered through a tabletop array of electronica. Her digitally altered singing worked at molecular levels, made clear as the artists laid down a path of composites aching from the grammar of their integration. Diggs divided the moon like an egg and deferred her feel for montage to three women who shelter all the beauty of the world in their consonance.
The THROUGHLINE project sees something beyond the obvious. Experiencing it was akin to seeing a dream you once forgot now being laid bare, newborn edges and all. Its discourse was so precise that it sharpened blades of memory until only reality was left by their slice. It was music for those that fortune once threw into a pool of amniotic fluid and walked away disappointed when they didn’t drown. Music for those who’ve since learned that every change of dress is another chance at remembrance. Music that looked us straight in the eyes and said: You want to know what real privilege is? Sharing the duty of those dismantling its infrastructures, throwing away the master’s tools, and rebuilding — letter by letter — the temples of our bodies without warning signs, fire escapes or trigger alarms.
Moran, Griffiths, Van Clief-Stefanon and Diggs were their own microphones, amplified through self-expression — the strongest form of faith — and built on the assertion that nothing is real until spoken, nothing spoken until real. These were the women in the room, voices of a collective body whose signatures imprinted ears and eyes with every individual step forward, and the honor of unfolding said signatures out into this tightly and artfully folded world will stay with us. Perseverant. Honest. Unafraid.
(See this article as it originally appeared in The Cornell Daily Sun here.)
(Photo credit: Felix Broede)
March 25, 2017
Cornell University, Barnes Hall
Since the mid-1990s, the Jerusalem Quartet has been slinging its unmistakable tone and adroit programming to audiences worldwide, and at last to Cornell University’s Barnes Hall on March 25, 2017. What distinguishes Jerusalem Quartet from its umpteen contemporaries is its interlocking tonal spread, meticulous attention to rhythm and balance of repertoires. For this performance, these spirited musicians presented a trifecta of drama, whimsy and lyricism.
Ludwig van Beethoven’s Quartet No. 11 in F minor set the stage not only musically, but also technically, as idiosyncrasies came immediately to the forefront. First violinist Alexander Pavlovsky brought a clarion register that meshed superbly with second violinist Sergei Bresler’s warmer colors, while violist Ori Kam and cellist Kyril Zlotnikov completed the picture with an organic rusticity and dance-like undercurrent. From the opening movement’s latticed spaces to the folkish fourth, the playing navigated every change of pace with the adaptability of a racecar driver. The Bach-inspired fugue of the second movement, with its gyroscopic core, was especially moving, and snuggled nicely against the conversational third. Though a pleasant piece with which to begin, one that showed its composer’s penchant for cellular invention and negotiations of ferocity and finesse, it was but an appetizer to the main course of Sergey Prokofiev’s Quartet No. 1 in B minor. This compact yet multifaceted gem spanned only three movements, upending convention by ending with the slowest. That final Andante was as songlike as it was ashen and overcast. Like a memory snagged on a branch, it resisted our attempts to seize it in a most beguiling way. From root to branch, it maintained integrity with solid growth and showed off the flair of cellist Zlotnikov’s way with (and without) a bow. This was preceded by an Allegro which, with abundant rhetorical flourishes, felt like Prokofiev guiding us through a maze, running down certain passages and tiptoeing through others.
After intermission, we luxuriated in the depths of Antonín Dvořák’s Quartet No. 13 in G major. Among the composer’s final quartets, it reaffirmed the fact that few understood the sonority of the genre more than he did. Delightful yet weighed by the ante of human contemplation, every dance-like gesture in the surrounding movements only served to emphasize the anthemic beauty of the Adagio. Like a restless dream during hibernation, it changed colors and textures with almost surreal seamlessness and epitomized what violist Kam in his program notes cited as their goal of showing the string quartet as a “singular instrument.” Likewise the encore, which presented the Allegretto pizzicato from Béla Bartók’s String Quartet No. 4 in the manner of master clockmakers offering a glimpse of their craft.
Uniting all of this was a sense of hearing not only composers but also performers unafraid to think out loud. Like a great jazz performance, it reminded us that even within the borders of prescribed music there is infinite room for variation and interpretation.
(See this article as it originally appeared in The Cornell Daily Sun here.)
(Photo credit: Adrian Boteanu)
Simon Shaheen presents Zafir
March 10, 2017
Cornell University, Bailey Hall
VIDA Guitar Quartet
February 23, 2017
Cornell University, Barnes Hall
On February 23, 2017, the VIDA Guitar Quartet made its Ithaca debut at Cornell’s Barnes Hall. Since 2007, the British ensemble has been impressing a conscientious sonic footprint on listeners. Seeing them live, however, the interlocking nature of their artistry is apparent not only in their craft, but also in their choice and assembly of programming.
There is, of course, plenty of savvy over which to marvel regarding each player’s technical wheelhouse. Mark Eden’s highs, Mark Ashford’s harmonizing and melodic leads, Amanda Cook’s unbreakable ground lines and Chris Stell’s rhythmic backbone (enhanced by tapping of the guitar body) make for a kindred fit that is rare among quartets of any constitution. By an uncompromising equanimity of individual allotments, VIDA shows its truest colors as a holistic unit.
The concert opens with selections from VIDA’s latest CD, The Leaves be Green, thereby nodding to their homeland. The three-part English Folk Songs by Ralph Vaughan Williams, based on melodies collected from the British Isles and originally written for marching band, feels most tactile in the version presented here. Two marches, and between them an intermezzo, morph from vivacious to tender and back again. In addition to introducing us to the quartet’s sound, the piece also lends insight into Vaughan Williams’s love for music in its most rudimentary forms (even a tune heard whistled at a pub was fair game for a composer so enamored). By contrast, Peter Warlock’s Capriol Suite, a collection of six French courtly and lay dances that would be the short-lived composer’s most popular work, is just as vibrant under VIDA’s fingertips in guitarist Chris Susans’s reimagining (the only arrangement of the program not produced by one of the quartet’s members). More latticed than the macramé of the Vaughan Williams, it emotes as much vertically as horizontally, stretching more than enough canvas to support VIDA’s flourishing foregrounds.
From there, the program seems to change costumes into George Gershwin’s Rhapsody in Blue. Formidably arranged over a three-year period by VIDA frontman Chris Stell, the new version highlights the brilliance of this timeworn classic’s rhythmic complexities. A piece normally rendered far too grandiose for my taste by dint of its popular orchestral arrangement (the piece was originally written for two pianos), it blossoms through VIDA’s intimate filter and begs new appreciation for its source and for the feat of making it amenable to plucked gut.
After flexing their knuckles during intermission, the musicians return for a lighter — though no less engaging — second half, starting with a highlight of the evening: Mark Eden’s nimble retelling of J. S. Bach’s third Brandenburg Concerto. Smooth yet punctuated, flowing yet rhythmically precise, this perennial favorite reveals an inner heart too often glossed over at the touch of a bow. It also shows the quartet at its tessellated best, and underscores the unique sonority of each instrument.
This is followed by two contemporary pieces. The first is by composer Phillip Houghton, who bases his Opals on the beloved precious stone of his native Australia. Each of its movements plies a different atmospheric trade. Where “Black” is jagged and strong, “Water” evokes a pond shimmering in moonlight and “White” coheres with the precision of a jigsaw puzzle. Next is The Great British Rock Journey, written for VIDA by friend Nick Cartledge. A brilliantly composed piece that is a joy to hear, it cycles through familiar riffs of the Beatles, the Rolling Stones, Pink Floyd and others. In keeping with the rhapsodic theme, Queen’s instantly recognizable bohemianism provides the longest and most indulgent section, and a quotation of Coldplay’s “Clocks” is surprisingly fresh.
VIDA ends with a selection from the Hungarian Dances of Johannes Brahms, which after the excitement of its predecessors might fall flat if it wasn’t for the musicians’ deft balancing act of texture and character. On that latter note, an encore rendition of the theme from director Carol Reed’s 1949 classic, The Third Man, exits the stage amid a dash of humor by which to remember a performance otherwise steeped in enchanting rigor.
(See this article as it originally appeared in The Cornell Daily Sun here.)
Christian McBride and Edgar Meyer
Bailey Hall, Cornell University
February 3, 2017
The double bass is a perennial fixture of many jazz combos. And yet, how rare to hear it on its own terms. Rarer still in duet with a like partner. The Cornell Concert Series kicked off its spring season by proving that a duo of basses could be more than meets the ear. As twin ramparts of their generation, Christian McBride and Edgar Meyer are as masterful as they come. Where one cut his teeth on the jagged edges of jazz, the other was baptized in classical waters. Yet, both have eroded the boundaries of their chosen genres in mutual respect. This respect was nowhere so evident as in Bailey Hall on Friday, where they conversed as friends and allies do: without judgment or fear.
McBride and Meyer evoked a symbiotic relationship on stage. The combinatory powers of their artistries spanned the gamut. On the technical front, Meyer carried a resonant tone and perfect pitch throughout, as emphasized by his mellifluous bowing. McBride, meanwhile, drew a z-axis straight into the audience, going playfully off pitch as only a seasoned jazzman can, to emphasize flexibility of every note. In short: Meyer sang and McBride spoke.
This dynamic held true whether the duo was navigating the well-trodden landscapes of standards like “My Funny Valentine” and “Days of Wine and Roses,” or escorting listeners along far-less-traveled compositions between them. The concert opened in the latter vein with Meyer’s own “Green Slime,” a decidedly funky jaunt bearing all the benchmarks of either musician’s idiosyncrasies. McBride’s “Lullaby for a Ladybug” later revealed a softer side, and for it the composer played at the piano, by which he clothed its childlike whimsy in the tender skin of balladry. And their jointly written “Bass Duet #1,” a blues with postmodern touches.
The reigning highlights of the program were both solo pieces. Meyer performed an untitled composition for bass alone, which danced like a Hindemith viola sonata in its legato turns. McBride, for his part, treated us with a solo rendition of “Fly Me to the Moon” that was as acrobatic as it was insightful. Although McBride played it all-pizzicato, he too is an adept wielder of the bow and his gloss of “Bewitched, Bothered & Bewildered” was even more heartfelt.
A double-dip into the Miles Davis songbook yielded fresh versions of “Solar” and “All Blues” (the concert’s encore), while another into rural waters came up with a downright orchestral arrangement of Bill Monroe’s “Tennessee Blues” and the frantic virtuosity of Meyer’s aptly titled “Barnyard Disturbance.” The musicians’ free-spirited approach served the authenticity of these tunes and made for an inspiring evening. Like Meyer’s “F.R.B.,” which paid homage to the late, great Ray Brown, their love for each other, for the music and for all who inspired them was the most engaging melody of all.
Click here to read my pre-concert interview with both musicians.
(See this article as it originally appeared in The Cornell Daily Sun by clicking here.)
For the second year in a row, ECM commanded the stage at the New School’s Tishman Auditorium for Winter Jazzfest in New York City. Whereas 2016’s showcase spanned two nights, this year’s was a one-night event, and featured sets by the Michael Formanek Quartet (with Tim Berne, Craig Taborn, and Gerald Cleaver), Jakob Bro’s trio with Thomas Morgan and Joey Baron, two duos (Ravi Coltrane/David Virelles and Bill Frisell/Thomas Morgan), and a concluding performance by Nik Bärtsch’s Mobile. Click the concert photo below to read my full report.
At the summit of a prosperous career on stage and, following a decades-long stint with ECM Records, German bassist Eberhard Weber suffered a stroke and has not played since 2007. In October of 2015 (a year in which he also received the Landesjazzpreis Baden-Württemberg, a lifetime achievement award), jubilee concerts were held at the Theaterhaus in Weber’s hometown of Stuttgart to honor his 75th birthday and contributions to jazz.
This DVD of that same event features the SWR Big Band conducted in turns by Helge Sunde and Michael Gibbs, along with guests Jan Garbarek (saxophone), Gary Burton (vibraphone), Paul McCandless (reeds) and, returning to the fold, Pat Metheny (guitar). The latter’s “Hommage” is the centerpiece—a sprawling 30-minute composition built around archival video footage of Weber from the 1980s. More than any other musician on the roster, Metheny bottles the Weber-ian spirit like the lightning that it is.
In contrast to the sprightly figure on screen, the first image of the concert is of an aged Weber hobbling to his seat of honor by aid of a cane. Following this, his “Résumé” finds Garbarek improvising over a more recent audio recording. It’s a fitting way to start, given that Weber was such a fixture of Garbarek’s quartet. Much of what follows reflects almost somberly on a touching career. Arrangements by Ralf Schmid and Rainer Tempel of classic tunes from Weber’s golden age are showcases for Burton and McCandless while those by Gibbs rejuvenate “Maurizius” (from the 1982 album Later that Evening) and Benny Golson’s “Killer Joe.” But it’s the jovial energies of Libor Šíma, who reimagines “Street Scenes” and “Notes After An Evening” (both from 1993’s Pendulum), which win the day.
In the liner notes for Hommage à Eberhard Weber, the 2016 ECM album culled from this same event, Metheny waxes indebtedly about Weber’s “sonic fingerprint that even all these years later remains as uniquely identifiable and fresh as it was on first hearing back then.” As this landmark performance shows, Weber continues to innovate, even without strings at his fingertips.
(This article originally appeared in the September 2016 issue of The New York City Jazz Record, of which a full PDF is available here.)
My latest review for All About Jazz is of pianist Anat Fort’s superb performance at the Rubin Museum of Art in New York City, where her trio, along with Italian reedman Gianluigi Trovesi, celebrated the release of her third ECM album, Birdwatching. Click the photo below to read on.