Review: Jeremiah Cymerman’s residency at the Stone (Nov 2014)

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Last week the Stone hosted yet another week-long residency that I was really excited to see: Jeremiah Cymerman. I’d never seen him do anything but improvisation sets before this week, so I was very interested to hear some material from his studio recordings and some of the bands he’s put together over the years as well as, of course, more improvisation.

I went to half a dozen sets during the week – solo; Sky Burial; improv benefit for the Stone; improv set with Joe Morris and Sylvie Courvoisier; Pale Horse; and Pale Horse with guests. The solo set was the first one of the week and it turned to be one of my favorites. I wasn’t surprised since I thought his last solo album, Purification/Dissolution, was pretty darn brilliant. You can listen to some by clicking here. (The embed isn’t working, so you’ll have to click through… I know, I know, clicking that mouse button is arduous work.)

It’s not necessarily what you think of when you think “solo clarinet,” and it’s not for everyone, but I think he has a real talent for noise music. I don’t listen to a lot of noise – it’s one of those things I have to be exactly in a certain mood for – but when I am in that mood and I hear something just right, it can be one of the most ecstatic types of music listening. I think of it as musical masochism – noise music lets you float right on the edge of pleasure and pain, pushing you right to the limits of enjoyment. When the composer or musician in question can walk that line perfectly, the listener can have sufficient trust to sit back and fully take it in without being tensed up with a finger on the “off” button in case it goes too far.

It hardly needs saying that it falls in the “not for everyone” category, but for me, Mr. Cymerman is a top practitioner in this particular art form. The first, long piece in his solo set (taking up most of the time he’d allotted) was a prime example – a briliant-bordering-on-genius set of clarinet filtered through enough electronics and effects to make it nearly unrecognizable as an instrument. It was a real education watching him make this music after having heard his albums and having no idea how the music was being made. The complex textures and sounds he was coming up with on the fly were powerful and masterfully done.
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Concert(s) review: Marc Ribot residency, part five (1/31, 2/2/2014)

It took us a while, but here we are: the final chapter of the Marc Ribot residency blog series. In this post we’ll be covering the “Songs” night (early set on Friday) and the John Zorn improv benefit (early set on Sunday). These two nights featured the largest line-ups of the residency, with 6-7 musicians per set. If you’ve missed the last few posts, you can read them here: one (improv duos), two (8mm film night), three (Marc Ribot Trio sets), four (solo sets/Zorn/Cage). But first, the gratuitous guitarist photo… here is George Spanos (left) and Marc Ribot performing at the benefit improv set:

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The “Songs” set on Friday was kind of a tricky one for me, which is why I’ve saved it for last. The band consisted of Ribot on guitar (acoustic and electric), Melvin Gibbs on bass, Tony Lewis on drums, and a three-piece string section of Christina Courtin (viola), Pico Alt (violin) and Christopher Hoffman (cello). It was quite a grab-bag of styles, everything from Philly soul to punk to delicate ballads. It’s hard to imagine anyone but Ribot putting together a collection of songs like this, really, but if you’ve ever heard a Ceramic Dog album you’re probably familiar with this eclectic approach to songwriting. (He commented wryly at one point that “you bring in charts for one night out of the whole week, and they write in ‘Time Out’ that you’re a singer-songwriter! The nerve of those people!”)

Some of my favorites of the night: the third song they played, La Noyee, was a cover/translation of a (more…)