Friday, June 15, 2018

ACME Honors Jóhann Jóhannsson At LPR


The subterranean performance space at (Le) Poisson Rouge quickly grew silent when the six musicians of the American Contemporary Music Ensemble filed on the stage last Sunday night. They took their seats and began to play an overview of the music of Icelandic composer Jóhann Jóhannsson, who died earlier this year at the age of 48. The most recent work included was bc, a gorgeous elegy for cello and electronics co-composed with ACME’s cellist and Artistic Director, Clarice Jensen and recently released on her debut solo album. bc found Jóhannsson honing many of the ideas about repetition, texture and emotional impact that he had been working on since at least 2009 when ACME put on the first concert of his music in New York on this very same stage. 

Selections from that concert were also played, which could lead to the temptation to see this show as the completion of a circle. But, as Jensen pointed out in her brief remarks, Jóhannsson’s music will live on in the many films he scored, such as Denis Villeneuve’s Sicario and Arrival, and the Golden Globe-winning The Theory Of Everything. As one of the leading cinematic composers of our time, Jóhannsson’s influence will also continue to be felt in theaters for years to come. Jensen also expressed her wish that his music live on in the concert hall as well. “There’s a big hole on stage,” she remarked, “but there’s a lot left, too.”

Taken as a whole, the concert was as strong an argument for Jóhannsson’s ongoing presence in our musical lives as can be imagined. The performances were superb, exquisitely emotional but also precisely controlled, with all of the players deserving special mention: Ben Russell and Laura Lutzke, violins; Caleb Burhans, viola; Paul Wiancko, cello; and Grey McMurray, piano, guitar and electronics. Each musician became a stand-in for the many facets of our grief about Johansson’s death, their faces expressing emotions ranging from stoicism, deep sorrow and calm acceptance.

The program, which can be found in this playlist, was also well-sequenced, beginning with selections from Jóhannsson’s first album, 2002’s Englabörn, and then traversing his career outside of film. Corpus Camera, a work for string quartet, was played, along with an excerpt from Fordlandia and a piece from IBM 1401 A User’s Manual. bc was the penultimate work before the ensemble ended with Flight From The City from Jóhannsson’s last album, Orphée. For this, one of his signature pieces, Jensen joined McMurray on the piano bench and played the piano part while he handled the electronics. It was somehow deeply satisfying to watch her fill the space between iterations of that beautiful phrase with a movement, a gathering of breath, that might have seemed exaggerated if not for the heavy emotional freight of the moment. And it is a marvelous phrase, seeming to embody reflection, memory, sorrow and regret, while maintaining an optimistic forward motion. When the piece ended, it was our turn to take in a breath, leading to a brief pause before a rapturous standing ovation.

We applauded ACME for the care and love they had shown to Jóhannsson and his music throughout the night, and indeed over the last decade. We applauded the members of his family who were present, letting them know they were not alone in their loss. And we applauded Jóhannsson’s music and all he had accomplished in his too short life. “It was like witnessing a resurrection,” my friend said after we had gathered our thoughts for a few minutes, which was true as Jóhannsson had seemed so present for an hour. But while he may be at rest now, the music must continue to be a part of our lives. Besides ACME’s playlist, I also recommend this episode of David Garland’s Spinning On Air podcast where he revisits another LPR concert from 2010 and his interview with Jóhannsson from the same year.

There is also new music to discover, such as the soundtrack to The Mercy, which came out just days before his death. This music for the story of failed circumnavigator Donald Crowhurst finds Jóhannsson in top form and is filled with detailed electro-acoustic vignettes. Just listening tells a story, from the bright, busy Boating For Beginners, like sunlight dancing on water, to the uncertainty of The Doldrums, when things are going wrong. I also imagine it captures all the feelings and images of the film with perfect acuity. While Jóhannsson repurposed some tracks from his earlier score for Free The Mind, The Mercy represents a significant addition to his legacy. There’s also his score for Mary Magdalene, which I haven’t heard yet but can see it being a perfect fit with the hymnal elements in Jóhansson’s music.

Finally, there’s the reissue of that debut, now called Englabörne & Variations, which Jóhannsson was working on when he died. Besides the original album there’s a second disc of remixes and reimaginings by his collaborators, contemporaries and influences, including Hildur Guðnadóttir, A Winged Victory For The Sullen and Ryuichi Sakamoto. Although it wasn’t conceived as a tribute album, it does the job handsomely and points out the rich tapestry of relationships and resonances Jóhannsson wove in his career. I hope there will be more projects like that, and performances such as we heard at LPR. As Jóhannsson told Garland in the interview linked above, “I think it’s probably something quite visceral which I’m after, something very down in the stomach, in the blood — with the emotions. That’s where the music comes from in a way, and that’s where great music hits me.” I don’t think I’m alone in saying that Jóhannsson’s music hits me there, too, so let’s keep it circulating.

Note: ACME will be performing Jóhannsson’s Drone Mass in Athens, Greece on June 18th. Keep an eye on their website for future performances.

You may also enjoy:
Best Of 15: Classical & Composed
Best Of The Rest Of 12: Composed & Contemporary














Saturday, June 09, 2018

Paul Maroon Resurfaces


After The Walkmen went on “extreme hiatus” I realized that, next to Hamilton Leithausers’s otherworldly crooning, Paul Maroon’s incandescent guitar was my favorite part of the band. So it definitely softened the blow of their dissolution when Maroon’s playing was a defining feature of Black Hours, Leithauser’s first solo album from 2014. I thought these two men were like brothers and even without a band they would continue to work together forever, or at least close to it. 

This was reinforced when Dear God, a vinyl-only release credited to both to them, came out about a year later. It was typically brilliant, even when Maroon dedicated himself to keyboards instead of guitars on a few songs. They were all good songs and all was right in my little corner of indie world. 

But then Leithauser’s next album came out and it was a collaboration with Rostam Batmanglij, late of Vampire Weekend, and Maroon was out of the picture. I never liked Vampire Weekend but thought the two songs Rostam contributed to Black Hours were pretty good and so listened to I Had a Dream That You Were Mine with an open mind. It didn’t work for me. I wanted Maroon back. Where was Maroon? I googled Maroon and found only old posts about Dear God. I even asked Twitter where he was and was told to seek out this great album called Dear God. I replied that not only did I have the album, but it had been delivered to me personally by Leithauser. That was old news. 

Maroon then became one of my little projects, like that wonderful band Hospitality, someone I would Google now and again to see if they had resurfaced. The trail was cold and I began to worry about his health. As it happened, I should have been worrying about Stewart Lupton, his former colleague from Jonathan Fire*Eater, the band that preceded The Walkmen. When Lupton died last month - far too young at 43 - I decided to check into Maroon again. My dedication paid off! There were new hits! Maroon was back!

The first thing that came up was a new column he’s writing for the AV Club, Ask An Indie Rock Veteran, where he dispenses erudite answers to questions like Do indie-rockers ever get indie-stalkers? or Is recording with a metronome or click track a must? His 30-year career has given him in-depth knowledge about music, production, touring and every other aspect of being a professional musician and he is generous with his wisdom and a damned good writer. I was enjoying reading the column but it was when I got to the end that I got really excited, for there at the bottom of a request for more questions was this line: In the meantime, come listen to my scoring work at Henderson-Maroon.com.

I clicked and found an elegant website representing Maroon’s collaboration with Morgan Henderson, the multi-instrumentalist from Fleet Foxes, whose bass playing was also all over Black Hours. Apparently they struck up a friendship during a legendary (to me) tour that had The Walkmen co-headlining with Fleet Foxes. I saw one of the shows, on the Williamsburg Waterfront with the sunset at our back, and it’s all too easy to imagine collaborations and friendships arising out of the camaraderie we witnessed on stage. 

The website features some beautiful samples of their work, showing off their versatility for potential clients. I especially love the one called Field Recordings, which is a dramatic and highly distinctive vignette that seems to tell its own story even without any visuals. There’s also the happy news that Heaven is a Traffic Jam on the 405, which was scored by Maroon, won the 2018 Oscar for Best Documentary Short Subject. That should lead to more of those potential clients! 

Does this recent activity mean that I won’t jump for joy if Maroon and Leithauser work together again? Certainly not, but it does my heart good to see a great musician I admire finding fulfillment and showing the world a new aspect of his talent. Long may Maroon’s flag wave! Now, if I could just find out what Amber Papini and Nathan Michel of Hospitality are up to. I hope they’re OK...

You may also enjoy:
New Americana Pt. 2: Hamilton Leithauser & Paul Maroon
Best Of 14 (Part 2)
Make Time For Black Hours
A Chilly Welcome From Hospitality

Friday, May 25, 2018

Outliers, Part 2: Seabuckthorn, David Garland



In Part 1, I covered two albums, one inspired by Greek Tragedy and the other by music history. The two records discussed below have more diffuse antecedents but no less musical impact.

A House With Too Much Fire - Seabuckthorn How vast is the world of music that an artist with this much talent and originality could have flown under my radar for so long? For this is the ninth release by Andy Cartwright under the name Seabuckthorn, which, as I have now learned, is a common shrub known for its nutrient-rich berries. Cartwright’s main instrument is the guitar and he usually plays 12-string acoustic or resonator guitars, often applying a violin bow to create drones. On A House... he has added banjo, clarinet, synthesizer and percussion to the sonic landscape, all of which he deploys with restraint and to great atmospheric effect. I have a lot of catching up to do but as far as I can tell, this is his most sophisticated and varied album thus far.

While there are still echoes of the American Primitive school of guitar, Cartwright is more interested in texture now. He rarely calls attention to his virtuosity in these 10 tracks, which are built up from layers of improvised parts and loops. Submerged Past, for example, starts with a finger-picked pattern that’s soon joined by spidery chords left hanging in the background before morphing into a stately ostinato, around which Cartwright develops more layers of picked and strummed elements with occasional strikes on the bell of a cymbal for emphasis. Gorgeous stuff. The spookier side of Daniel Lanois might be a touchpoint here, along with Ennio Morricone, Popol Vuh and even Tuareg desert blues. But Seabuckthorn really sounds like no one else and I hope this album draws more attention to his rich, organic sound world. A House With Too Much Fire comes out on June 1st - preorder it here. Cartwright lives in the Southern Alps but there is the possibility of New York City performance in the near future. Based on this video from March, I want to be there - how about you?

Verdancy - David Garland Starting in 1987, David Garland hosted Spinning On Air as a radio show on WNYC, quickly becoming a fixture on the airwaves and in the culture of New York City. His eclecticism, depth of knowledge and sheer love of music and creativity made it a must listen and often an unforgettable one. While WNYC cancelled the show in 2015, I'm delighted to report that Garland has revived it as a podcast and, based on the episodes I've heard, he has lost none of his curiosity or eloquence - subscribe here.

Over the years Garland has also been putting out his own music, featuring his wry vocals and sounds as much influenced by folk and rock as by classical music of all centuries. Verdancy,  which came out in March, is his first release in four years and may be his most ambitious project yet. It's essentially four albums worth of music, much of it performed by Garland alone on a daunting number of instruments. There are some intriguing collaborators including Iva Bittová (vocals, violin), Kyle Gann (piano), and Yoko Ono. Garland also handled all the technical aspects of recording, production, mixing and mastering. The artwork is his as well, with design by his wife, Anne Garland. Even if the music wasn't as wonderful as it is, Verdancy would be a landmark effort and an inspiration to independent creative people everywhere.

A central feature of the sound across the 27 tracks is an acoustic guitar modified with electronics by Garland's son Kenji. Apparently Sean Lennon is a fan as Garland borrowed one from him to record Verdancy. The hybrid instrument is "genuinely electro-acoustic" and provides washes of tonally rich chords for Garland to build on with the other instruments, often clarinet, which he plays beautifully. Part of the emotional well Garland draws on here is his move a few years ago out of NYC to the Hudson Valley, giving him an opportunity to commune with the natural world. Many of the songs do have an organic feel, seeming to grow from a kernel of an idea into something elaborate and deeply involving.

There are many highlights throughout the four albums, two of which arose out of collaborations across time. Color Piece, the first song, uses words from a 1964 poem by Ono, which Garland sings over a stately melody in a warmly meditative introduction to the world of Verdancy. Later on, there's Monteverdi's Lamento della Ninfa (The Nymph's Lament), based on a 15th century madrigal, which adapts surprisingly well to Garland's approach. Traveling Doors, a lovely piece for piano, clarinet and electronics, is another perfect point of entry. I could describe more of the beauties that await you but prefer you to discover them for yourself. I will say that out of all the songs here, Dear Golden Deer is the only one I would rather not revisit, as it pushes my personal tolerance for slide whistle past the breaking point. It might be your favorite track - don't let me stop you.

I can't encourage you enough to add David Garland's many virtues to your listening repertoire, whether through the riches of Verdancy or the ongoing inquiry of Spinning On Air. I would suggest both!

You may also enjoy:
Outliers, Part 1: Oracle Hysterical, Thomas Bartlett-Nico Muhly
Words + Music, Part 2: Scott Johnson And Alarm Will Sound
Words + Music, Part 1: Laurie Anderson And Kronos Quartet
Record Roundup: Eclectic Electronics
Record Roundup: On The Cutting Edge

Saturday, May 19, 2018

Tristan Perich’s Divine Violins


A concert doesn’t have to take place in an awe-inspiring setting like the Cathedral Of St. John The Divine to take on a sense of the sacred or ceremonial. But it’s impossible not to feel the weight of occasion when entering one of the world’s largest Gothic churches, even if it remains unfinished 125 years after the first cornerstone was laid. Yet as I walked through the cavernous space on May 9th for the world premiere of Tristan Perich’s Drift Multiply for 50 violins and 50 1-bit speakers I felt sure his work would rise to meet the expectations engendered by the space. 

The concert was part of Red Bull Music Festival, a three-week, city-wide festival of impressive scope. As much as I appreciate what Red Bull is doing, even this lifelong atheist couldn’t help thinking it was slightly incongruous to see coolers of their products for sale in a house of worship. After a moment I decided to embrace the dissonance even if I didn’t want to grab a drink. The last time I was here for a concert was back in 1981, as part of the Kool Jazz Festival - and I don't remember them selling cigarettes! 

The performers back then were jazz drumming legend Max Roach and his percussion ensemble M’Boom, who were joining forces with the World Saxophone Quartet. My recollection is that we were sitting even further from the stage than the anyone would be tonight and that the multiple drums created what felt like enormous cubes of sound that tumbled through the air before hitting the wall behind us and rolling forward again, chased by the white lightning of the four saxophones. It was intense, to say the least. 

Now, the stage was surrounded on three sides by seating and itself covered with the 50 seats needed for Perich’s piece, each with an attendant music stand and another small rod holding a four-inch speaker. Many of the chairs facing the front were taken already so I sat down in the first row at the south side of the stage. I recognized that sitting out of the path of the reverberations would be a different experience, yet still valid or they wouldn’t have put seats there. Perich, known for his One-Bit Symphony and other sonic explorations, is enough of an expert that I felt I would be in good hands no matter what vantage point I had. Also, even 50 violins wouldn’t create the bone-rattling racket of Max Roach & Co., so there would just be less air moving around to begin with. 

Before Perich’s piece was another world premiere by Lesley Flanigan of her own Subtonalities for voice and electronics. She sat at a table with a mic and a few pieces of equipment, which she used to dial in oscillating throbs or to loop her extraordinarily pure soprano - exactly the kind of voice you would expect in this space. I discerned sections - at least four, maybe five - in Subtonalities, a sense of structure that pulled me through. There were echoes of Popol Vuh and Fripp & Eno among the lush textures, her multitracked voice spiraling up towards the ceiling. If the piece felt a little long, that’s most likely due to my anticipation for Perich’s music. I can easily imagine losing myself in Flanigan’s textures in another context without giving a thought to length. I hope I will have that opportunity soon. 

Lesley Flanigan performing Subtonalities
There was a brief intermission and then the 50 violinists took the stage with astonishing ease - they must have practiced! - joined by Doug Perkins, the founder of So Percussion, who would conduct. He raised his baton...and they were off. I was instantly captivated, not only by the sounds, which displayed a high level of invention throughout, but also by observing the cross-section of players arrayed before me. Each one had a slightly different way of holding their instrument and bow and it was also fun to watch what an individual player was doing and try to pick out their contribution to the landscape. There were sections of nearly austere minimalism, with many violinists seeming to play similar figures, while others had an epic sweep, with players making big gestures and the electronics responding with starlit sparkle. 

A fraction of the 50 violinists for Drift Multiply
The entire length of Drift Multiply felt so assured and with frequent moments of sheer wonder that it’s hard to believe this is the first time anyone has ever used this configuration. I’m sure some of that solidity was due to Perkins’s expert time-keeping, a task in which he was aided by digital counters sprinkled through the orchestra. Even though the piece was substantial, I never felt that Perich had used up every last idea. Nor did it ever feel like a stunt. While there is certainly an element of performance or installation art, the whole thing was deeply musical and I hope that logistics don’t get in the way of future performances. There was a video crew and likely audio recording being done as well so I would keep an eye on the Red Bull website to see if they make it available for you to experience at home. Drift Multiply is a triumph of imagination and execution that may just give your living room, or wherever you listen, a touch of the divine. 




Thursday, May 10, 2018

Outliers, Part 1: Oracle Hysterical, Thomas Bartlett-Nico Muhly


This two-part miniseries will look at four albums that exist within similar Venn diagrams that overlap between contemporary classical, folk, and rock, which is a very interesting neighborhood indeed. 

Hecuba - Oracle Hysterical This group dubs itself “part band, part book club” so you can bet there’s a shelf-load of ideas behind their second album, which is based on the centuries-old Greek tragedy by Euripides. The basic plot, which has Hecuba, the Queen of Troy, descending into murderous madness to avenge the fall of her city and the slaughter of her children, has more than enough story to fill a few albums. This makes the concision of Oracle Hysterical’s nine songs even more impressive. 

The group consists of twin brothers Doug Balliett (double bass, viola da gamba) and Brad Balliett (bassoons), Majel Connery (vocals, keyboards), Elliot Cole (vocals, guitars, keyboards), and Dylan Greene (percussion) and for Hecuba they added Jason Treuting of So Percussion on drum kit. These modest forces are deployed remarkably well, leading to a variety of sounds from art song to folk-rock and from electronica to prog-rock. I even hear a bit of mid-century composed jazz in Bolero and elsewhere, always a welcome sound in my book. Connery wields her operatically-trained voice mostly with restraint so when she really unleashes it’s all the more powerful. Cole’s voice is more limited, almost conversational at times, providing another nice contrast. 

I really hope no one is turned off by the brainy background to Hecuba as the whole album flows and is filled with beauty and adventure. It’s no more challenging a listen than Home At Last, Steely Dan’s glossy take on the Odyssey. There is even a bit of wit, as in the deadpan refrain “Woe is me/woe for my children/Woe for my ancestors,” recited by Cole like a one-man Greek chorus in He Will Close Your Eyes. One analysis of the original by Euripides states that “there is almost no let up in the mood of suffering and anguish” in the play so its probably a good thing that Oracular Hysterical takes a lighter approach to the subject matter. There are certainly moments of darkness, like the spooky way Connery intones the lyrics of Letos Laurel or the fantastical 100 Tongues, which finds her voice chopped up in an aural impression of a shattered psyche. Cole’s mixing and Chris Botta’s electronics and post-production deserve special mention for that and much else on Hecuba. 

Hecuba, a mightily original work that finds Oracle Hysterical hitting their stride at least as much as a band as a book club, comes out on May 11th. Join them to celebrate at National Sawdust on Sunday, May 13th. No need to bear gifts - just buy a ticket


Peter Pears: Balinese Ceremonial Music - Thomas Bartlett And Nico Muhly This record also has a rich overlay of ideas that should lead the curious listener in all sorts of fascinating directions. First, there’s the title, which combines the name of one of the 20th century’s greatest vocal artists with a reference to Gamelan music, the Indonesian form that attracted the attention of Pears and his collaborator (and lover) Benjamin Britten. Britten first learned about Gamelan during a fascinating period in the 40’s, when he found himself living in a townhouse on Middagh Street in Brooklyn with the likes of W.H. Auden, Dashiell Hammett and Gypsy Rose Lee. Also in residence was Colin McPhee, a composer and ethnomusicologist who had studied the gamelan extensively while living in Bali. McPhee and Britten recorded his two-piano transcriptions, which made the music accessible to Western ears and performers. Thus Balinese music, which uses an orchestra primarily of bell-like percussion instruments to play repeating clusters of melodic rhythms, became one of the roots of minimalism. 

Whew. We haven’t even listened to the album yet and we’re already deep in the weeds of 20th Century classical music and literature along with one of the central forms of Asian music. But, aside from the three McPhee transcriptions included here this is all just the roadmap Bartlett and Muhly used, not the destination. And who are Bartlett and Muhly? The first, who also operates under the name Doveman, is a pianist, singer and composer who, in addition to his own records, has worked with a wide variety of artists from Sam Amidon and David Byrne to Chocolate Genius and Father John Misty. Muhly studied at Juilliard and worked with Philip Glass and has had a career that can easily be described as meteoric, having already had an opera produced at the Met (with another on the way), among other successes. 

All that doesn’t mean I like everything Bartlett and Muhly have done. Among the tracks I love on the playlist they conveniently assembled of their various activities is plenty of music that strikes me as insular, arch and even smug. But I was too intrigued by the background of Peter Pears to do anything but listen with an open mind. And I’m glad I did, because this is a collection of sounds and songs that envelop the listener in warmth and care, quickly becoming as familiar and comforting as an old blanket or a good friend. 

The McPhee pieces are busier and sharper-edged than the originals, which are gauzy wonders of piano, strings, percussion and electronics over which Bartlett sings in hushed tones lyrics that are full of poetic allusions, aphorisms, and compassionate advice. There is a seamless grace to this music, not doubt enabled by the excellent musicians Muhly and Bartlett have assembled, including Rob Moose and Yuki Numata Resnick (violins), Christina Courtin (viola), Clarice Jensen (cello), Hannah Cohen (harmony vocals), and Chris Thompson (percussion). But the end result is all Bartlett and Muhly, making a case for collaboration being the surest way to bring out individual strengths. By working together and drawing on music and history that fascinates them, they have created something uniquely beautiful that also feels genuinely new. And if this album leads some new listeners back to McPhee and the Gamelan or the marvelous music Britten and Pears created together, so much the better. The album comes out on May 18th and Bartlett and Muhly will be performing it at La Poisson Rouge on May 24th

In Part 2 I’ll be covering two more unique albums. But first, a trip to church with the Red Bull Music Academy. 

Friday, May 04, 2018

MATA's Bad Romance At The Kitchen


This year saw the 20th Anniversary of the MATA Festival, which puts on new music concerts around the city for three weeks every spring. Founded by Philip Glass, Eleanor Sandresky and Lisa Bielawa, Music At The Anthology seeks to promote the work of unaffiliated composers, presenting a highly curated selection drawn from hundreds of entires. Time and circumstance have prevented me from ever attending even one of their shows, although I jealously kept up with reviews and press releases. This year, those same factors made it possible for me to attend one of the concerts at The Kitchen, which had the attention-grabbing name Bad Romance.

It was also my first time at the current location of The  Kitchen, a legendary performance art space last incarnated in SoHo. One of my favorite memories of the astonishing rise of the Beastie Boys was when they played a set there as a hardcore band. Because we were young and snotty, we saw it as a moment of epater le bourgeoisie and we laughed about it for a long time. There was nothing funny about seeing Steve Reich’s Different Trains there, however, although it was equally unforgettable. The new space, a large black box with extremely high ceilings, is certainly flexible enough to put on any show along the continuum mapped by those two concerts. It was also perfect for this MATA concert as several of the pieces we saw had strong theatrical elements.

Piano Six Hands

The first was Aaron Graham’s Old Voltage for piano six hands, which had Miki Sawada and Paul Kerekes on the outside of the bench hammering away like a Conlon Nancarrow piece for player piano while Isabelle O’Connell, sitting in the middle, played lyrical, almost romantic, melodies infused with tango rhythms while delivering a spoken word monologue about "hallucinations, crowds, dances, memories and lovers." The contrast between O'Connell's part and the others was increased by the way Graham has prepared the piano to dull the sound of the upper and lower registers. Beyond the curiosity value, there was power and beauty to spare in the music, which was composed in 2015 and made its American premiere at MATA. 

Jenny Hettne‘s While She Was Dreaming for violin and and tape was also an American premiere. Performed with dazzling confidence by Pauline Kim Harris, its combination of glitchy sonics with a violin part that ranged from dense bursts to folkish simplicity added up to a work I would like to hear again - stat. Hopefully this performance will lead to more of this Swedish composer's work being heard in the city, as it seems to be a fairly rare occurrence. 
Garapic, Rogers & Evans Playing Light-On-Light
Saxophonist Erin Rogers led the performance of her own Light-On-Light, which was a world premiere and commissioned by MATA. It was full of humor and ideas, including the use of saxophones and other items as percussion instruments, gamely played by Matthew Evans and Amy Garapic. Perhaps she was partly inspired by David Van Tieghem, who used his drumsticks to convert literally everything into an instrument. Her own part was full of clicks and breaths, prompting me to ask my friend if he thought anyone else could perform it. He wisely responded that it would depend entirely on the notation, which is true for any set of extended techniques. Either way, it was a wild ride. Rogers's work for guitar and soprano, The Lone Tenement, will be performed twice in New York this month. Make a plan.

Two Pianists Below, Many Samurai Above
The visual element in Chris Perren’s Samurai Loops, conceived as it was for video and two pianos, was among the strongest of the night. The projection took a scene of two friends in mortal combat from Masaki Kobayashi’s 1967 film Samurai Rebellion, at first looping the movements of Toshiro Mifune and Tatsuya Nakadai so they began to resemble dancers instead of warriors. Just as I was settling into that concept, the images exploded into repeating patterns, with dozens of samurai now moving in concert on the screen. Even more dazzling was the rhythmic acuity, as the music matched each clash of the swords. Not so easy, as O'Connell confirmed after the show. While she and Sawada were able to use the electronic sounds to help them stay on track, they couldn't really see the screen while they performed. The music, while adjacent to minimalism, could also be lushly melancholic, with sweeping melodies that interacted well with the macho romance of the imagery. Perren, from Australia, also performs with Nonsemble and Mr. Maps, among other things. Watch Samurai Loops and then explore his world if you're as captivated as I am.

Charlotte Mundy In Basic Black
The second half of the night began with Steven Whiteley’s [      ] [    ] [  ] [ ] [] (yes, that’s the title!) for soprano and electronics. The piece convincingly explored the relationship of syllables and words to gestures and to the sonic environment. Some of the repetitive, quotidian phrases ("Darling you're so...") made me think of Scott Johnson's work using language. It may sound cerebral in a description but this was gripping stuff with a stunning performance by Charlotte Mundy, who embodied her demanding role completely, including some haunting (and virtuoso) laughter. I was already a fan of hers thanks to her great work on Ecstatic Music, the 2016 album by TAK Ensemble so I am glad I had the opportunity to see her on stage. Her website is sorely out of date, but if you follow Ekmeles, the vocal ensemble to which she belongs (or TAK), you're sure to be able to catch her. 

El-Ansary (left) Acknowledges The Applause
The penultimate work was by Bahaa El-Ansary, a young Egyptian composer who has been causing a stir in new music circles. This is not only due to the fact that there are fewer known composers from that region, but also because of the sheer emotional power and command of structure displayed by his work. Nightmare for guitar, violin and viola was a perfect example, with the trio’s forces marshaled with great economy and style. Dan Lippel’s acoustic guitar virtuosity deserves special mention, while Harris on violin and Carrie Frey on viola certainly had no trouble keeping up. As far as I can tell this was the first performance in New York, and only the second in the US, of any work by Al-Ansary. Programmers should explore his website, which is full of striking music, such as Lost, composed for harp and 30 cellos. That's not a combination you see - or hear every day!

Ken Ueno’s ‘Tard, another MATA commission, was wisely placed last on the program. Like Hendrix at Monterey, no one would have wanted to follow it. For this world premiere performance, Ueno was joined by the outgoing Artistic Director of MATA, Pulitzer Prize-winning composer Du Yun, on vocals, along with Evans and Garapic on percussion. Each of them had an enormous bass drum, which were visual statements in their own right. Ueno and Du were both wearing whimsical garments (pants on the former and a shirt for the latter) made of multicolored puff balls, which were the only hints of levity in this bleak and searing piece. Unless, that is, unless you count the listing on Ueno's website, which credits him as "non-breather" and Du as "screamer." Those descriptions became clear shortly after Ueno took his place at a table set with a glass bowl filled with water and a small towel.

As soon as Evans and Garapic began wailing on their massive drums, creating an equally massive sound, Ueno bent at his waist and put his face in the bowl of water. He remained there for at least two minutes as Yun vocalized in composed agony. She and the drummers continued when Ueno pulled out of the water and stood silently glaring at the audience with what seemed to be barely controlled fury. The only let up in intensity was when Evans and Garapic switched from the drums to striking metal water bottles together, creating a sound not unlike the cloud chamber bowls David Byrne used in parts of his score for the Catherine Wheel. According to the program notes, presented as an email exchange between Ueno and MATA Executive Director Todd Tarantino, the original conception included contact mics on the bowl and a camera under it so the composer’s submerged face could be projected. Intriguing thoughts (“Hmmm” was Tarantino’s entire response) but it’s hard to imagine those bells and whistles making the work substantially more effective. 
Ueno Glaring, Du Screaming
As seen at The Kitchen, ‘Tard is a brilliantly enigmatic piece that asked more questions than it answered. That title, for one. Was it short for the repulsive neologism “libtard”? Or the scarcely less awful “retard”? Nothing good, that seems certain. And was the rage directed at us? Or a reflection of our own anger? Or just good theater? This was par for the course for an evening filled with works that seemed to explore the firewall where intellect and instinct collide. Kudos to MATA for bringing this important music to light. I can only imagine what I missed over the rest of the festival, not to mention the last 20 years!

Thursday, April 26, 2018

#RSD2018: Iris Blooms In Jersey City


When it comes to Record Store Day, I’m in it for the music not the promise of eBay resales or collecting some gussied up version of an old favorite just to pin it down like an asphyxiated butterfly. This is why I’m at least as excited about the used CD I tracked down this past Saturday during my observation of the 11th annual celebration of record store culture. 

Yes, I’ve heard all the complaints and read all the amusing think pieces (“The 10 Most Reprehensible People You’ll Meet On Record Store Day,” etc.), but for me it’s an opportunity to use the calendar to force me off my beaten path and check out a new spot. This year was similar to 2013, in that I had a few other hard-scheduled things I had to do, one of which involved using my car, which is why I ended up going out to Iris Records in Jersey City, which has been around off and on for about 20 years. 

I confess that I was also influenced by their canny Facebook advertising, which kept their existence front of mind for the last few months and also informed me that they would be opening at noon, just like any other Saturday. This would fit perfectly with my errand to Bay Ridge, even if it meant spending enough on tolls to fill a couple of potholes! Iris is run by Stephen Gritzen, with whom I have been acquainted for at least a couple of decades through our mutual friend, nightlife photographer extraordinaire, Catherine McGann. Steve is a such a stand-up guy that about 10 years ago when I mentioned to Cathy that I was desperate to find a copy of Basement 5 In Dub, he found it in his crates and had her pass it on at no charge. So, my visit would also be a chance to thank him in person for completing my collection of one of the most misunderstood bands of the 80’s. 
Lining Up For Goodies
I arrived a few minutes before noon and got on a line with about 30 other people. Besides the fact that I was adjacent to three smokers (including a cigar - yuck!), it was a congenial crowd, including at least a few people making Iris their second stop for RSD. I kept an ear out to hear what other people were looking for so I could help them if I spotted it first. Eventually the line started moving and I could see that Steve had two tables set up on the sidewalk with crates full of this year’s exclusive releases. I had already read though lists of what was coming out this year and had my antenna up for a couple of things. Due to budgetary concerns, it was important for me to stay focused and not get distracted by shiny objects that might not provide the musical satisfaction I needed. 

By the end of my perusal of the outdoor crates I had a small stack of items to sort through, including two items on my must-have list, Un Esercito Di 5 Uomini, one of three Ennio Morricone soundtracks out this year, and An Evening With Ornette Coleman Vol. 2. There was also an album of Laraaji remixes by the likes of Ras G, Dntl and others, a seminal punk album by The Lurkers recommended by Billboard’s Ron Hart, and a record of Mozart sonatas played by Florian Fricke of krautrock legends Popol Vuh. I decided to take a look around the rest of Iris before making my final cut. 

Located in an old apothecary shop, Iris has loads of atmosphere and plenty of nooks and crannies to explore, with almost an equal amount of used and new LP’s plus a solid supply of 45’s and CD’s. There are  also some videos, books and memorabilia scattered about and the back counter has been converted into a DJ booth. I flipped through quite a few sections and found things to be fairly priced and often in excellent condition. New arrivals are conveniently segregated and there are also bins of budget vinyl where you can take your chance on a ragged obscurity or two. 
Digging In The Crates
As far as I remember, all CD’s are $4, which is more than fair and led me to take a cursory look through what Steve had. Bingo - a copy of The Moon Looked Down And Laughed, the second (and last) album by Virgin Prunes, which came out in 1986 and was hard to find in the U.S. even then. As I am a huge fan of theirs and lead singer Gavin Friday, this was a real thrill. The Moon... is a gorgeously gloomy (and occasionally wayward) album that can be seen as the missing link between Friday’s art-goth provocations and the brilliant song craft and interpretive genius of his solo career, which started three years later with Each Man Kills The Thing He Loves. I now see that Mute Records did a whole Virgin Prunes reissue campaign in 2004 that I somehow missed - I'll have to get the rest!

Now it was time to decide and pay before my hunger for lunch interfered with my judgement. It turned out not to be all that difficult. The Fricke album was a beautiful package but in the end it was Mozart and that’s just not a priority for me right now. Since I wasn’t familiar with all the remixers, I worried that the Laraaji album could end up being hit and miss. Also, I wouldn’t be surprised to see some or all of it on Spotify at some point. At that point, it was easy to relinquish The Lurkers to keep my costs down while sticking to my original Morricone and Coleman plans. I consider myself lucky to find two exclusives, which is more than I usually get on RSD. 

Now that I’ve had a chance to listen, I’m even happier with my decision. Un Esercito Di 5 Uomini (Five Man Army) is quintessential Morricone, with all the rich melancholy and unusual contrasts that implies. Side Two is particularly staggering and this reissue replicates the Italian cover perfectly while using translucent blue vinyl for extra pizzaz. The Ornette Coleman, recorded live in 1965 and briefly issued 10 years later, features a lineup that was unfamiliar to me, with David Izenzon on bass and the great Charles Moffett on drums. Coleman himself plays more violin and trumpet than usual, almost making it sound like a quintet. Side One is dense and filled with raging fury, while Side Two is spacious and filled with the joyful melody-making that is one of his greatest characteristics, especially on the song called Happy Fool. Lots to unpack and the clear vinyl was a nice touch. 
My RSD Finds
I enjoyed my visit to Iris and even had a chance to thank Steve for the Basement 5 EP. I plan to make a return visit soon and also wouldn’t mind going back to Skinner’s Loft, where I had a fine lunch. On my way there I saw a freshly coiffed rock & roll dude in a leopard print jacket come out of a hair salon, towing a guitar and amp on a luggage cart. Next thing I know, he’s playing classic rock covers in the middle of Newark Street, where a block party was taking place. Apparently he’s a regular fixture known for his Bowie covers. Maybe I’ll see him again on my next trip to Jersey City. 

Coda:  On my way back to the car, I noticed that the hair salon also sold records so I thought “why not” and went in. After flipping a bit I realized that Iris was supplying these records, too! I found a pristine copy of Be Bop Deluxe’s The Best Of And The Rest Of, which has never been reissued and has a few tracks not found elsewhere. Call me an axe victim, but I like Bill Nelson in most of his incarnations so I picked that up, too. It was that kind of day. 

If you went out on RSD, how did you fare?