Archive for October, 2011

Miguel Zenón Quartet To Perform Music From New CD “Alma Adentro: The Puerto Rican Songbook” November 10 at Harlem Stage, New York

Sunday, October 23rd, 2011

On Thursday, November 10 at Harlem Stage in New York, saxophonist, composer and arranger Miguel Zenón will perform music from Alma Adentro: The Puerto Rican Songbook, his critically acclaimed new recording of classic Puerto Rican songs for Marsalis Music. Joining Zenón on the date is his core quartet featuring Luis Perdomo (piano), Hans Glawischnig (bass), and Henry Cole (drums).

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LA Times: Culture Watch: The Claudia Quintet +1, ‘What Is the Beautiful?’

Wednesday, October 19th, 2011

Culture Watch: The Claudia Quintet +1, ‘What Is the Beautiful?

(Cuneiform)

Music and spoken-word collaborations can be problematic, especially in the world of jazz. Though the passionate creation in both disciplines can be complementary, sometimes the results clash, leaving listeners either wishing that guy in the beret would hush for a minute or those musicians would take a break so we can focus on what’s being said.

But this isn’t a problem on the latest from New York’s Claudia Quintet. Augmented by pianist Matt Mitchell, the record is a meeting between the knotty compositions of drummer John Hollenbeck and the poetry of the late Kenneth Patchen, whose work influenced the Beats. Though Hollenbeck’s arrangements are as evocative as ever in crafting a lush maze of percussion, accordion and woodwinds, Patchen’s words remain on equal footing with the help of Theo Bleckmann and Kurt Elling.

While Bleckmann’s otherworldly voice lends an ethereal quality to tracks such as “The Snow Is Deep on the Ground,” Elling nearly steals the record with his trademark baritone. Burrowing into Patchen’s words with sly gravity and wit, Elling adds a working-class patter to the twisted work parable “Job” and taps into his inner Tom Waits with a stumbling slur on “Opening The Window.” The meeting reaches its peak on the title track, which features Elling and the band slowly gathering power with each recitation of Patchen’s calm command, “Pause. And begin again.” When the results are this good, by all means.

— Chris Barton

FABIAN ALMAZAN CD Release Week, Village Vanguard Debut, and iTunes Discovery Download

Tuesday, October 11th, 2011

(Biophilia Records / Distributed by Palmetto Records)

Almazan Leads His Trio & String Quartet at

The Village Vanguard: October 11-16

with a Live Webcast via NPR Music & WBGO on October 12, 9:PM (ET)

iTunes Features “The Vicarious Life” as the iTunes Discovery Download

for week of October 11-17

Physical CD: November 22, 2011

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NYTimes: Review of What is the Beautiful

Tuesday, October 11th, 2011

THE CLAUDIA QUINTET +1 FEATURING KURT ELLING AND THEO BLECKMANN

“What Is the Beautiful?”

(Cuneiform)

The temperaments of the poems of Kenneth Patchen (1911-72) have a wide frequency: they are brave, mystical, honest, funny, smart, tender-hearted, indignant, earnest, absurd, resistant, interior, out of step.

The drummer, composer and bandleader John Hollenbeck’s music has some of those traits too, and in “What Is the Beautiful?,” his Claudia Quintet puts a handful of Patchen’s poems to music. Most of the record was commissioned by the University of Rochester, whose rare-books library is currently showing an exhibition of Patchen’s graphic art; the poem pieces are broken up by a couple of instrumental ones that aren’t directly related to Patchen.

Fitting music to verse can be tricky territory: if you literalize a poem with musical gestures, you may be taking away its mysteries and killing it. But Mr. Hollenbeck’s work generally gives listeners something concrete — an effect or an event or a process in the music — without becoming condescending or obvious. Here he has paid sensitive attention to the words and moods of the Patchen poems.

Sometimes that simply means that musicians mimic the words’ rhythm and melody, as happens in “Showtime” and “Do Me That Love,” or their meaning, as in “Limpidity of Silence,” which is basically a classical-music piece that indeed involves a lot of limpidity and silence. (A lot of tension too.) But sometimes it means much more. With the singer Kurt Elling reading some texts, and Theo Bleckmann singing others, Mr. Hollenbeck respects how the poems begin, modulate and end. As much as possible, he has let the poems write the music for him.

The title track, with the poem excellently read over the music by Mr. Elling, is a good example, probably the best. The first four stanzas are short and fairly similar in shape, and the strange and slowly accumulating group sound, with accordion and vibraphone, cymbals and bowed bass, repeats a figure accordingly. Later, longer stanzas contain arcs of momentum, which the music mimics with rising lines. At the end of every stanza comes the word “pause,” followed by “and begin again,” which of course likewise happens in the music.

Then drums and piano trickle in, through a series of repeated questions: “Will the shapes of evil fall?/Will the lives of men grow clean?/Will the power be for good?”

There’s steady rhythm and a few levels of harmonic motion from the different instruments, some repeated and steady, some wayward. (This is an expanded version of his Claudia Quintet, with the pianist Matt Mitchell as an extra member.) And the piece as a whole has its own cumulative momentum, its music becoming denser and broader, coming to a period of wordless collective improvisation in the middle.

For seven minutes, everything logically and constantly grows, until the chilling and unresolved end. It’s a piece with a lot of improvisation, one that takes a lot of cues from its literary source, but at the same time it’s a marvel of composition.

There are some less good examples. Mr. Elling is a great singer who sometimes explores his sense of humor a little too much; he’s the same way as a reader, rendering “Opening the Window” with what sounds like an exaggeration of Patchen’s own woozy baritone (which you can hear on recordings from the late 1950s). He abandons the clarity he achieved in the title track; instead he becomes jokey and too knowing. But this comes at the end of the album, and so much good has been achieved by then that it seems forgivable. BEN RATLIFF

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