Monsieur Délire Reviews

Ava Mendoza
Ava Mendoza (Photo credit: michaelz1)

From Monsieur Délire:

CHARLES-ERIC CHARRIER / C 6 GIG (Monotype Records)
AIRCHAMBER3 / Peripheral (Frattonove)
ASTRO SONIC / Come Closer and I’ll Tell You (Hubro)
CAKEWALK / Transfixed (Hubro)
SERGIO SORRENTINO & MACHINEFABRIEK / Vignettes (Frattonove)
CMKK / GAU (Monotype Records)
HUNTSVILLE / Past Increasing, Future Receding (Hubro)
MIRIODOR / Cobra Fakir (Cuneiform)
FABIEN SEVILLA / Expansion (Unit Records)
MATTHIAS TSCHOPP QUARTET / Plays Miró (Unit Records)
AVA MENDOZA / Shadow Stories (Ava Mendoza)
UNNATURAL WAYS / Unnatural Ways (Ava Mendoza)
LUCRECIA DALT / Syzygy (Human Ear Music)
THE OLD MAN & THE SEA / The Old Man & The Sea (Shadoks)

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Extended Techniques November NYC Calendar

Swiss pianist Sylvie Courvoisier, performing a...
Swiss pianist Sylvie Courvoisier, performing at Le Triton, Les Lilas (France) (Photo credit: Wikipedia)

From Extended Techniques:

SATURDAY, November 2
7:30 PM Voice Is the Original Instrument Featuring Maja Ratkje, Joan la Barbara and The M6: Meredith Monk Music Third Generation
VENUE: New York Ethical Society
DETAILS:
Extended Vocal Technique, from Joan La Barbara’s early and seminal LP Voice Is The Original Instrument (1976); Meredith Monk’s primary and innovative vocal archeology in Tablet (1974/1976) performed by the women of The M6 to the sculptured and digitally manipulated vocal sounds of Norway’s Maja Ratkje.
http://13.performa-arts.org/event/female-vocal-concert
ADMISSION: $15/$20

SATURDAY, November 2
8:00 PM Sylvie Courvoisier Trio with Drew Gress & Kenny Wollesen
VENUE: Greenwich House Music School
DETAILS:
About her new trio, Courvoisier says: “John Zorn had been asking me to do a piano-trio record for ages, but I always felt the great history of the piano trio was so intimidating – I really needed to find the right musicians. Drew has such a gorgeous sound and individual rhythmic sensibility, and Kenny has a wonderful sense of groove and a huge dynamic range. This trio has a more rhythmic feel than some of my past music, but our shows have really ranged, from through-composed material to full-on improvisation, from a real jazz vibe to very open and free.”
ADMISSION: $15

TUESDAYS, November 5 and 12
2:30 PM William Kentridge Norton Lecture Series
VENUE: The New York Public Library for the Performing Arts Dorothy and Lewis B. Cullman Center
DETAILS:
In 2012, the South African artist, animator, sculptor, drawing master, and opera designer William Kentridge gave a six-part series of lectures on art – titled Six Drawing Lessons – as the Norton Lecturer at the Mahindra Humanities Center, Harvard University. Upon being invited to present the series, the artist was asked how he would approach the task. His answer: “I listed every thought I have ever had, then divided it by six.”
http://lc.lincolncenter.org/shows/208448?show_date=2013-11-05%2014:30:00
ADMISSION: Free

WEDNESDAY, November 6
8:30 PM Roy Nathanson Project
VENUE: Seeds
DETAILS: Roy Nathanson – Alto/Sop Sax, Tim Kiah – Bass, Sam Bardfeld – Violin, George Schuller – Drums
ADMISSION: $15

THURSDAY, November 7
7:30 PM New Music in the Kaplan Penthouse
VENUE: Stanley H. Kaplan Penthouse, Lincoln Center
DETAILS:
Lieberson Quintet for Piano and Strings (2001)
Abrahamsen Ten Preludes for String Quartet (1973)
Golijov The Dreams and Prayers of Isaac the Blind for Clarinet and String Quartet (1994)
http://lc.lincolncenter.org/shows/207955?show_date=2013-11-07%2019:30:00
ADMISSION: $35

THURSDAY, November 7
8:00 PM Composer Portraits: Rand Steiger
VENUE: Miller Theatre
DETAILS:
Performers: Peter Evans, trumpet, International Contemporary Ensemble (ICE), Steven Schick, conductor/percussion
Program:
Coalescence Cycle (2012/13) – world premiere
Cyclone, for clarinet and electronics
Concatenation, for bassoon and electronics
Light on Water, for flute, piano and electronics
Template for Improvising Trumpeter and Ensemble
Joust, for flute, bassoon, and electronics
Coalescence, for 13 instruments and electronics
http://www.millertheatre.com/Events/EventDetails.aspx?nid=1596
ADMISSION: $20-$30

TUESDAY, November 12
8 PM Music for String Quartet and Alto Sax
VENUE: The Stone
DETAILS:
Performers: Jennifer Choi, Cornelius Dufallo (violins) Lev Zhurbin (viola) Alex Waterman (cello) Marty Ehrlich (alto sax)
Program: “Starlings Suite” (2013), String Quartet No. 1 “Plowshares People” (1993)
ADMISSION: $15

SATURDAY, November 16
7:30 PM Transcending Time
VENUE: Alice Tully Hall, Starr Theater, Adrienne Arsht Stage (Lincoln Center)
DETAILS: White Light Festival
Program:
Taverner: Kyrie “Leroy,” selections from Missa “Gloria tibi Trinitas”
Tallis: Audivi vocem
Nico Muhly: Recordare, Domine (New York premiere)
Arvo Pärt: …which was the son of…
http://lc.lincolncenter.org/shows/207897?show_date=2013-11-16%2019:30:00
ADMISSION: $45+

SATURDAY, November 16
8 PM and 10 PM The Ray Anderson/Marty Ehrlich Quartet: “Let Me Hear You Say”
VENUE: The Stone
DETAILS: Ray Anderson (trombone) Marty Ehrlich (reeds) Brad Jones (bass) Matt Wilson (drums)
ADMISSION: $15

THURSDAY, November 19
8 PM The BRT (Bennett-Rothenberg-Takeishi Trio) – Tokyo to Brooklyn Express // with Special Guest Vocalist Shelley Hirsch
VENUE: Roulette
DETAILS: http://roulette.org/events/samm-bennett/
ADMISSIONS: $15

THURSDAY, November 21
8:00PM
Ned Rothenberg, Sylvie Courvoisier, and Mark Feldman
VENUE: The Firehouse Space
DETAILS:
Ned Rothenberg: Alto Sax, Bass Clarinet, Shakuhachi, Sylvie Courvoisier: Piano, Mark Feldman: Violin
ADMISSION: $15

TUESDAY, November 26
8 PM and 10 PM Povo Novo – The Mapping Of A Digital Jungle – Part I
VENUE: The Stone
DETAILS: Eyal Maoz (guitar) Shanir Ezra Blumenkranz (bass) Cyro Baptista (percussion)
ADMISSION: $15

WEDNESDAY, November 27
8 PM and 10 PM Povo Novo – The Mapping Of A Digital Jungle – Part II
VENUE: The Stone
DETAILS: Eyal Maoz (guitar) Shanir Ezra Blumenkranz (bass) Cyro Baptista (percussion)
ADMISSION: $15

FRIDAY, November 29
8 PM and 10 PM Shanir Ezra Blumenkranz – Abraxas plays Masada
VENUE: The Stone
DETAILS: Aram Bajakian (guitar) Eyal Maoz (guitar) Shanir Ezra Blumenkranz (gimbri) Kenny Grohowski (drums)
Shanir Ezra Blumenkranz steps out on his own to make one of the most primal and tribal installments in John Zorn’s “Book of Angels”series.
ADMISSION: $15

SATURDAY, November 30
8 PM and 10PM John Zorn’s Metempsychomagia
VENUE: The Stone
DETAILS: Aram Bajakian (guitar) Eyal Maoz (guitar) Shanir Blumenkranz (bass) Kenny Grohowski (drums)
World premiere of a complex new book of music written for the Abraxas band by downtown alchemist John Zorn.
ADMISSION: $15

New Russian Jazz and its Architects

Vyacheslav Ganelin
Vyacheslav Ganelin (Photo credit: vidija)

From Russia Beyond The Headlines, an article on Russian free jazz, and especially the Ganelin Trio.

During the 1960s, the most sophisticated Soviet intellectuals embraced the music of the avant-garde composers John Cage and Pierre Boulez, as well as the avant-garde jazz of Ornette Coleman and John Coltrane. Around this time, books were published about conceptual art and theatrical performances. These influences together engendered something original — new jazz. The ideologue of new jazz was the journalist and music critic Efim Barban, who, in the mid-1970s, released the samizdat book “Black Music, White Freedom.”

AMN Reviews: Thelonious 4 Meets Tony Miceli Live Show, October 19, 2013, Somethin’ Jazz Club, NYC

Review by Monique Avakian

The quintet was on time, but I was a little late. I walked in on a vibes solo and that was the start of one WOW after another. Oh! What a group! Time was upended, suspended, ingested and befriended. Like Nicola Tesla in that famous photo from the lab in Colorado, I remained seated, yet altered most certainly via the massive lightning bolts of creativity generated by the Thelonious 4 + 1.

Playing an all-Monk program is an ambitious challenge for any and all who dare to try to have that much serious fun. This Pentagram of the Possible delivered a very satisfying evening of close listening and radical chances. The Thelonious 4 come to us from all points essential: Argentina (Guillermo Celano, guitar), Germany (Andreas Metzler, bass), and the Netherlands (Iman Spaargaren, saxophone). The group formed in the Netherlands while the members were studying at the Conservatory of Amsterdam. I like to romantically envision the Netherlands as a place hell-bent on encouraging all manner of constructivist hi-jinks; a place where building beautiful, functional, abstract concepts is cultivated both inside and outside of the mind. Tony Miceli and drummer Dan Monaghan both live in Philly, and, well, even the Vegetarians among us know all about the battle between the states on the finer points of the food item known as the “cheese-steak.”

New York may come in second when it comes to cheese-steaks, but we were certainly in a privileged position to have Somethin’ Jazz Club host this group on October 19th. The group took us through Light Blue, Play it Twice, Bolivar Blues, Introspection, and Skippy (plus whatever tunes I missed). The solos were long and flavorful, and the group was tight and fierce, yet completely relaxed.

Tony Miceli the vibist, remains not only eternally unruffled and specifically centered, but exudes a kind of “chill” that can only be expressed in degrees of warmth. Mirroring the deep duality of cold metal and warm sound forged by his instrument, Mr. Miceli consistently offers listeners the universe inside each and every singular choice of note, rhythm, concept, feeling and phrase. With an open mind and generous hand, he invites you take a trip into the outer and inner realms. The technique of a master vibist such as Mr. Miceli is a feat to be studied as well as appreciated for those us drawn to this instrument. If you’ve never seen this man play live, I highly recommend a trip to the city of Brotherly Love–he is such a highly evolved instrumentalist. “Ripping vibes solo!” read my notes, again and again.

Continuing on with percussion, drummer Dan Monaghan was on board for the evening, and he is another feat to behold! I never heard this guy play before, and I’m dying to hear him again. Filled with joy and completely involved with the group and the music, this man echoed, threaded, motivated and united his cohorts into a space of group collaboration that drove the groove and rattled my heart to expansive heights of empathy. His way of playing seemed like a soulful kind of juxtaposition—he played in a certain way that seemed familiar, but his choices were kind of like giving us a concrete means to an unexpected and abstract end. It was cool approach, and he worked very well as complement to the vibes especially.

Next up, Andreas Metzler on bass. In a group like this, it’s too easy to overlook this instrument, precisely because the bass might have to be more straight up at times in order to support all this wild experimentation. But Mr. Metzler refused to drift into obscurity. He provided all that the group needed, and then some. On “Introspection” in particular, Metzler supported the band rhythmically, but also had a melodic and conceptual grasp that allowed for a way~out kind of spontaneity that dove-tailed magnificently with the trippy guitar.

As for the guitar, it’s interesting, because I used to think that putting guitar and vibes together was kind of redundant. And maybe that’s true if a guitarist plays conventionally with comping style and overall sound. But in the context of the Thelonious 4, Guillermo Celano actually propelled the group forward in all kinds of inventive ways, and not just sonically with electronics. Unlike a lot of guitarists, Celano was able to show restraint and lots of it. This made his excursions super powerful, not only when he soloed, but also when he comped for others. His comping style seems quite melodic and harmony driven. Celano’s choices during Bolivar Blues were terrifically juicy and invigorating as he had this unusual way-out surfer vibe going. It was very abstract, yet he never left the room. Tre’ cool.

Iman Spaargaren on sax also showed really effective restraint. He, too, felt a lot more melodic, and the way he solos helped my ear engage. Sometimes, sax players get hung up on antics and rapid runs up and down to the point where I kind of check out because it feels sort of like a cut and paste exercise. Spaargaren, however, had none of that going on. I noticed he had a way of breathing that involved filling the throat. I’m not sure about all the specifics of this kind of technique, but Spaargaren offered a lot of nuance and subtlety that made him rather magnetic. He took the role of announcer and near the end wittily quipped: “The time goes faster than we can play.” I was sad to have it end. This was a real listening adventure and a beautiful evening.

CD: Thelonious 4 Meets Tony Miceli: http://www.thelonious4.com/music.html
(complete with liner notes, and even a poem written by an enthusiastic individual named Guy Zinger! )

Video: http://youtu.be/YLsVNTJU4hM

Oh! And stay tuned for the Vibes Congress – coming up in January, 2014
http://www.tonymiceli.com/