By Dan Lehner
Theo Bleckmann and The Westerlies at SubCulture
Winter Jazzfest’s famous marathon, a two-night musical expedition that lasts eight hours and stretches almost the entire width of Manhattan, had apparently become so popular that a third needed to be added to sate the voracious appetite of New York creative music fans. No less crowded than the full marathon has been - and likely will be when it returns next weekend - fans packed into clubs and performances spaces along Bleecker St hoping to grab a seat, or at least a window between heads, to see new acts and old favorites.
Ghost Train Orchestra’s reputation as a historicist band with modernist proclivities was in full effect during their tribute to one of New York’s most iconic and idiosyncratic composers: Louis Hardin (better known as Moondog). GTO’s episodic tribute to the Viking of Sixth Avenue brought to light the warm, approachable dualities of his Hardin's music: attractive melodies that seemed to belong to no one genre in particular, with themes that were approachable but buoyed by snaky polyrhythms and counterpoints. Horns, strings, vocalists and blocky percussion broke down barriers between indie rock, Native American music and bucolic American classical, with particular stylistic provinces supplied by the exuberant avant-rockisms of guitarist Brandon Seabrook and the probing, history-laden soloing of clarinetist Dennis Lichtman.
Pianist Marta Sanchez’s music was a similar dance between the complex and the simple. Sanchez was both sensitive and spry in her solo development, setting themes into forward motion but darting in delightfully unexpected ways. Her compositions, particularly the way her band performed them, also had the same sort of layered development, with tunes like “Cascadas” wringing all the tricky underlying rhythmic subdivisions of 3/4 time and soloists like Jerome Sabbagh soloing around the melody to let the band envelop him. Much of the material was brought to life in particular by drummer Daniel Dor, milking different rhythmic and stylistic possibilities and squaring the often spiky and complex counterpoint of Sanchez’s music with it’s gentleness.