Recent concert highlights: Erik Friedlander, Trevor Dunn’s PROOFReaders, Marc Ribot, Sean Rowe, and Zion80

I’ve had a light three weeks of concerts (well, light for me) between two head colds, a sinus infection and a round of antibiotics – yuck! Hopefully now that summer has arrived a couple of months early, the cold and flu season is over. I did manage to push through and get to a handful of shows, though I didn’t feel well enough to write about them until this week.

Erik Friedlander‘s solo set at Dixon Place, premiering his new album “Illuminations,” was a real treat. The new album is a must-hear – I’ve really been enjoying it (you can listen and buy it by clicking here). It reminds me a little of “Volac,” the album he did for John Zorn’s Book of Angels series, but with a bit more of a classical sound. I hadn’t been to Dixon Place before and it was an excellent place to see a very focused and intense solo set, with no distracting noise from the street or a bar. It was a beautiful concert, and I was happy to bring home the new CD afterwards for some extended listening sessions.

Here’s a piece from “Illuminations” that he performed in Krakow:

The same night, and with a slightly overlapping set time, was Trevor Dunn’s band PROOFReaders, with Dunn on upright bass, Darius Jones on saxophone, Nate Wooley on trumpet and Ryan Sawyer on drums. Luckily this show was just a few blocks from Dixon Place at the Skinny, so we were able to scoot over there and only miss a little bit of the beginning of the show. They played a double set of Ornette Coleman tunes, so we definitely got our money’s worth even though we were late (not always a sure thing these days with lots of sub-60-minute sets happening in avant-garde/jazz venues). It was a great opportunity to relax on some comfy couches and take in some high-quality acoustic jazz performed by very talented musicians. What more can a jazz fan ask for?

I don’t think the PROOFReaders have any recordings or videos available to share, but I will definitely go see them again if I get the chance.
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Review: John Zorn’s “Angels at the Vanguard” (part one)

Faithful readers of Concert Manic will have already read about John Zorn’s week at the Village Vanguard in Greenwich Village, thanks to an in-depth guest post previewing all of the concerts (click here if you haven’t read it and would like to). This week I relocated to my new apartment in New York City approximately 28 hours before the start of “Angels at the Vanguard,” which I swear was a complete coincidence. An hour after my parents dropped me off with the remainder of my belongings, my Zornfest companion for the week arrived from Spain, and the rest is history…

We’re now halfway through the Vanguard residency, and I’ve gotten internet access installed at my new apartment, so I am back in the business of writing concert reviews!

The first set of the first night was one I was particularly looking forward to: Mark Feldman and Sylvie Courvoisier on violin and piano. Their Book of Angels album, “Malphas,” is one of my favorites in the series (I think it was the first one I stumbled across in a Tower Records store bin back in the day) and I’m never disappointed when I see them live, whether it’s performing their own compositions or those of John Zorn. I had just picked up Sylvie Courvoisier’s latest album, “Double Windsor,” that afternoon* and was really excited to see her play. (*At the world-famous Downtown Music Gallery, because I live in New York now! It’s exciting.)

It was a Tuesday night and therefore not as busy as some of the weekend sets will no doubt be, but the room was more or less full and I think everyone was excited to be kicking off Zorn’s debut appearance at the Vanguard. I think the two musicians on stage were a perfect choice for the first set – they made one of the really classic Book of Angels albums, and they have played together enough that there was very little chance of nerves or pressure marring their set. In the end, I think they set the tone for the rest of the week, performing brilliantly and beautifully throughout – among the very best sets I’ve seen them play. Several of us in attendance at these shows have remarked on what a pleasure it is, after so many Masada Marathons and shuffle concerts, seeing these talented performers really spreading their wings and playing a full hour or more instead of 10-15 minutes at a time. It feels almost decadent to sit back and revel in these long sets.

The second set of the first night was one I was quite curious about: Eyvind Kang (on viola) and his large band (Mark Feldman – violin; Erik Friedlander – cello; Doug Wieselman – clarinet; Graham Haynes – cornet; Hidayat Honari – tar & guitar; Shahzad Ismaily – bass; and Ches Smith – drums). His recent Book of Angels album, “Alastor,” frankly confused me from the start, although I started getting into it after a few listens. The Vanguard set had an almost entirely different lineup from the album, so it was a bit of a mystery as to what we would get (especially when I’m looking at the list of musicians and thinking: “two-thirds of the Masada String Trio on stage with two-thirds of Ceramic Dog? What!?”). The set turned out to be quite beautiful, I liked it (at least in terms of first impressions) a lot more than I liked the studio album. I’m not sure if it was the different line-up/instrumentation/arrangements or if it’s just something that works better live, but I really enjoyed this set a lot. If I had to find a complaint about it, I would say it was maybe a bit restrained, which is perfectly understandable as it is a very new ensemble and they may not be fully ‘broken in’ yet, as it were. (At least Shahzad Ismaily looked relaxed, barefoot and sitting on his own amp in the back of the room.)
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Concert review: John Zorn’s Masada Book Three: Book of Beriah – part two (3/19/2014)

(If you missed the first half of this review, you can find it by clicking here!)

After stretching our legs during the 15-minute intermission, I settled back in my seat for the next ten bands. Well, I say “my” seat, but technically I was sitting in someone else’s seat, because my friend M. tipped me off to a no-show empty seat, front row dead center. Yeah, I’ll take advantage of that, thank you! It was a very nice change of pace seeing everything except the keyboards, instead of nothing but the keyboards.

The first band in the second set that really wowed me was the trio of Loren Sklamberg (vocals, accordion), Frank London (trumpet) and Uri Caine (piano). Out of all the bands we heard that night, this one had the most klezmer at its heart. (This seems relevant as the Book of Beriah concert was part of the Newish Jewish Music Festival.) Frank London gave us a bit of an explanation before the beginning of the piece, saying the name of the piece, “Kelim,” which is “part of the kabbalistic-mystic concept of how the world was created” inspired them to use this particular text, which I think he said was Yiddish. Even without being able to understand the lyrics, I thought the piece was hauntingly beautiful with a very Old World feel. Really loved London’s trumpet on this piece.

Next up was Abraxas, a band that regular readers of my blog will be familiar with. Shanir Blumenkranz is the bandleader and gimbri player, accompanied by Kenny Grohowski on drums, and two electric guitar players: Aram Bajakian and Eyal Maoz. While the band was setting up and getting plugged in, some joker in the audience yelled out “What IS that thing?” This prompted John Zorn to grab the mic and retort, “A gimbri, you fool!” which got a laugh out of the audience. I especially liked the intro to their piece which had some really cool atmospheric guitar work over a melodic bass line (well, gimbri line).

mark-abraxas(Abraxas. Photo courtesy of Mark Kirschbaum.)

After Abraxas, we got to hear Mephisto – which (as Zorn explained) is usually called “Mephista,” but apparently the substitution of a male drummer (Jim Black) made them decide to alter the (more…)

Concert review: John Zorn’s Masada Book Three: Book of Beriah – part one (3/19/2014)

When John Zorn announced back in January that he was doing a live premiere of a third Masada book, I was… excited. I was very excited. I immediately booked a train and hotel and started trying to convince everyone I know to come with me. I had my browser refreshing to get a ticket the second they went on sale (sadly, that turned out to be kind of a bust since all the best seats were reserved for the musicians and their plus-ones – oh well). Zorn’s Masada compositions were my introduction to his work and they opened up a whole new world of music to me that I’d never been exposed to before. The second book of Masada, the Book of Angels, contains some of my absolute favorite music, and I’ve religiously collected all twenty volumes to date. We’ve been hearing rumors for the last couple of years that the Book of Angels was drawing to a close, so the announcement of a third book was thrilling for me. A temporary reprieve, as it were.

It’s unclear what form the third book will take – Zorn told us early in the show that the book would consist of “92 tunes which will be played by 92 different ensembles,” which is pretty amazing in and of itself. I don’t know if they’re planning to record them in the studio and release them (maybe in a box set?) or just to do concerts; hopefully both, and hopefully I’ll be able to see them all! He also mentioned one final piece to close the book, which would be a longer piece that he would do in the studio after book three is finished.

Wednesday night’s concert premiered 20 of the 92 tunes, with 20 different ensembles or soloists – most of them were either pre-existing bands (Zion80, Secret Chiefs 3, Cleric, etc.) or variations on existing ensembles (e.g., the Merkaba Quartet, the Aleph Quartet, Mephisto). Quite a few of them have already created albums for the Book of Angels series, so they were no strangers to the Masada universe (or working with Zorn, which I imagine is a rather unique experience for most musicians).

Usually for a show with so many bands I would just pick a few favorites, but I think I have to go against my better blogger instincts and write up most of them – I’m only skipping a couple that just weren’t my style. Nothing against the few bands I’m passing over, some of them were just not my scene at all (on both ends of the spectrum – too aggressive, or not aggressive enough…).

It’s possible that the very first piece was my favorite one out of the whole night. The arrangement was by violist Eyvind Kang, and the performers were Eyvind Kang (viola); Mark Feldman (violin); Timba Harris (violin); Erik Friedlander (cello); Shanir Blumenkranz (bass); Hidayat Honari (tar); Ches Smith (drums) and Frank London (trumpet). It was melodic and beautiful, with lots of drama and emotion. Lots of klezmer influence from Frank London’s trumpet playing, and the strings just sounded incredible. I actually wish they hadn’t put this band on first, because it was so good and I wasn’t ready for it to be that good yet – I needed them to ease me into things a bit more. (Although this probably was Zorn’s idea of easing us into the show, now that I think about it.) Kang’s Book of Angels album, Alastor, is being released in a few weeks, and after hearing this ensemble I can’t wait to hear it. I’m not sure if the same ensemble is on the album, but he clearly has some affinity with this music and I’m sure he has done a great job with it.

Mark-kang(Eyvind Kang’s ensemble. Photo courtesy of Mark Kirschbaum)

The next piece was a quick three-minute hit from (more…)

Concert(s) review: John Zorn & friends improvising at the Stone

It’s become somewhat of a tradition for John Zorn to hold a series of improv concerts at the end of the year with a whole passel of downtown NYC musicians taking part. The concerts raise money for the Stone, the experimental music venue in Alphabet City. (That’s a neighborhood in New York, for those who aren’t familiar.) My office closes down between Christmas and New Years Day, so for the last few years I’ve made an effort to come down for some of the improv concerts. This year they did a five-night run and I made it to four of them, making it the fourth year I went to four sets of year-end improv at the Stone. Very symmetrical of me!

The fun of these concerts is the surprise element: you really never know what you’re going to get. The basic formula is for John Zorn plus maybe eight or nine other musicians to show up, and they all hang out in the basement and periodically send up small groups of musicians (usually 2-5) to play a fully improvised piece. Then for a finale they all get on stage together and perform. (This last piece can be a bit bizarre depending on the makeup of the group – you might have more pianists than pianos, more drummers than drum kits, more guitarists than amps, or simply too many people to fit on stage – but the name of the game is improvisation, so they always make it work!)

One of the more interesting aspects of these shows is that Zorn will throw together musicians from all kinds of genres and just see what happens – classical, jazz, rock, avant garde, they just get put on stage and they have to come up with something on the spot. It’s always fun to see what works and what doesn’t – and more importantly, which musicians are up to the challenge. Often you will see people performing who had not only never played together before, but had never even met. It doesn’t always work, but the surprising moments of brilliance are worth it.

I took a bunch of surreptitious flashless photos, as usual, so I thought I’d try out a little photo gallery thingy with my favorite pics from this week’s concerts:

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(I’m going to ask your forgiveness in advance if I miss or screw up any names here, there were so many different musicians and this was the first time I’d seen a lot of them…)

The first of the four concerts this year was on (more…)