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Winter Jazzfest: Saturday Night Marathon

 By Dan Lehner and Pete Matthews

Winter Jazzfest 2018 New School
Night two of the 2018 Winter Jazzfest Marathon began in the intimate fifth floor theater at The New School, where a crack team of trombonists were paying homage to the uniquely blithe and expressive spirit of Roswell Rudd. Art Baron honored Rudd's famously potent physical presence by "sanctifying" the room, facing each of the four walls and blessing them with little music segments, before launching into a sweet, genuine, plunger-and-pixie mute rendition of Ellington's "I Got it Bad". Brian Drye honored Rudd with his original "For Roswell", a gentle, folkish tune embellished with multiphonics and little mouth pops and swishes, ending with "Pannonica" (a nod to the Roswell Rudd/Steve Lacy recordings of Monk tunes). Josh Roseman's performance recalled some of his playing on his own "Treats for the Nightwalker", imbued with dubby wah's and hisses through a Harmon mute, and seemed to relate closely to Rudd's later work in the realm of world music.

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Winter Jazzfest 2018: Friday Night Marathon

By Dan Lehner and Pete Matthews

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New York is nothing if not a land of contrasts, so it was jarring if not totally surprising to slog through a warmer-than-usual rain storm on Friday’s Winter Jazzfest Marathon having just experienced a colder-than-usual near-sub-zero snowstorm only a week prior. However, New York is also full of tough natives and intrepid tourists, so no crowd was too deterred to pack and hop between the 11 venues (on the third of a record eight-day-long WJF) to see new configurations, old favorites and adventurous mixtures of the two on the first marathon night.    

Over at Zinc Bar, alto saxophonist Caleb Curtis was both riding and twisting a robust swing in trumpeter Josh Lawrence’s Color Theory, punctuating flowing melodic lines with wild zig-zags in unexpected directions at unexpected times. Propelled by drummer Anwar Marshall, bassist Luques Curtis and a rare Fender Rhodes/piano team of Zaccai Curtis and Orrin Evans, Lawrence’s beautiful and ambidextrous writing would alternate between gentle tippin’ and Blakeyesque group runs that would cluster around close harmony (sometimes on the same tune). One piece would have Lawrence and Curtis gently flicking specks of color on an orchestral canvas, then a faster one would show off Lawrence’s deftness as he carefully constructed, expanded and contracted melodic cells, all while never losing his mature, relaxed trumpet sound.

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Third Annual JazzFest at BRIC

by Steven Pisano and FoM

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Last weekend, BRIC hosted its third annual three-night JazzFest marathon, which back in 2015 instantly became a mecca for adventurous jazz fans looking to hear a wide-ranging array of jazz styles. This year's festival kept that tradition going, revisiting old faithfuls and discovering new talent on the rise. There were also new bands put together by veterans of the scene, such as drummer Terri Lyne Carrington's Social Science, featuring a singer and MC delivering emotional lyrics inspired by police brutality and our polarizing political climate. Upstarts included Sharel Cassity's forward-leaning Elektra and the elegant, ethereal singer Kavita Shah. Guitarist Binky Griptite (formerly of Sharon Jones and the Dap Kings) led a swinging band that inspired more than a few dancers, while Mexico's Troker straddled the line between jazz and funk. The venerable Sun Ra Arkestra, now in it's 65th year, closed out the night. 

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Lincoln Center Festival: Bang on a Can All-Stars with Gong Linna and Ornette Coleman's Chamber Music

CLOUD_SBP4072Photo: Stephanie Berger

The 22nd edition of the Lincoln Center Festival kicked off last week, bringing it's usual surfeit of starry theater and ballet companies to the various houses of the Lincoln Center campus left otherwise vacant for the summer. Amidst these, there were a pair of musical offerings that straddled the worlds of jazz, contemporary classical, and world music. 

On Friday, I went to the John Jay Theater to see the Bang on a Can All Stars perform with Chinese vocalist Gong Linna, who's become something of a sensation in her home country for her charismatic stage presence and acrobatic singing. They met while the All-Stars were touring China a few years ago and, after after BOAC founders David Lang, Julia Wolfe and Michael Gordon sat down with Gong and her husband, composer Lao Luo, (a.k.a. Robert Zollitsch) they came up with the 12 part song cycle Cloud River Mountain. Collaboration is nothing new for the Bang on a Can trio - previous efforts include The Carbon Copy Building (1999), Lost Objects (2001), and Shelter (2005) - but it was Lao who was instrumental in integrating the unique harmonies and rhythms of Chinese music.

The songs were sung in a mix of English and Mandarin, with lyrics drawn mostly from the mythological poetry of Qu Yuan, written during the Han dynasty (206 BC-220 AD). It was difficult to follow without supertitles or any kind of house lighting to read the translations in the program, but Gong's theatrical performance - matched by her flamboyant costumes - was captivating in its own way. As for the music, it ranged from Julia's "Into the Clouds", which raged with Patti Smith-like intensity, to Michael's persistent, heavy-handed "River", to David's quiet, haunting "Girl With Mountain." For an encore, Gong performed the wild, frenetic folk song "Tan Te", which first catapulted her to stardom.

Meanwhile, David, Julia, Michael and the All Stars have all decamped to North Adams, where they'll be ensconced at Mass MoCA for the next three weeks at the Bang on a Can Summer Festival, culminating in the annual Summer Marathon on August 6 with guest composer Louis Andriessen. Details available on their website. More pics here.

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