An Astonishingly Eclectic, Global Album and an Auspicious Laurie Anderson Collaboration at BAM from the Kronos Quartet
The original indie classical ensemble, the Kronos Quartet – violinists David Harrington and John Sherba, violist Hank Dutt and cellist Sunny Yang – are teaming up with Laurie Anderson for what promises to be one of the year’s best, and potentially one of the decade’s most auspicious runs at BAM next week. They’lll be performing their collaboration, Landfall, which explores Anderson’s experiences during Hurricane Sandy here in New York a couple of years ago. The concerts run from Sept 23 to Sept 27 at 7:30 PM. $20 balcony seats are still available as of today. You’ve been given the heads-up – this could be major.
The Kronos Quartet’s latest album, A Thousand Thoughts – streaming at Spotify – is also pretty major. It’s basically a survey of string music from around the globe, accent on intense and substantial. It’s also an unusually successful take on a format that’s often overrated and underwhelming: pairing a famous group with a bunch of equally famous special guests. But the Quartet has always been a mutable unit, as these fifteen tracks – recorded across the years, with every Kronos Quartet lineup – prove over and over again. They literally can play anything, yet always manage to put their own individualistic, out-of-the-box stamp on it. Celtic traditional music reinvented as ambient soundscape? Check. The Blind Willie Johnson delta blues tune Dark Was the Night, Cold Was the Ground remade as Vietnamese art-song, with eerily quavering dan bao from Van-Anh Vanessa Vo? Doublecheck.
Maybe what’s most enjoyable here is that virtually all of these performance are acoustic. To be completely fair, when the Kronos Quartet have employed electronics, those effects aren’t usually gratuitous: the group tends to use them for extra atmospheric bulk and heft when a piece calls for it. But these performances are intimate, with an immediacy and vivid chemistry among the ensemble and with the guests. The Quartet teams up with Syrian star Omar Souleyman for a Bollywood-ish jam with biting accents and swirling microtones over a steady, hypnotic beat. Vo returns to join her countryman Kim Sinh for another alternately spiky and swooping Vietnamese number. A suspensefully crescendoing, rather epic Ethiopian theme by Ethiopiques sax legend Gétatchèw Mèkurya is one of the album’s highlights.
A far more stark, haunting highlight is Sim Sholom, by klezmer legend Alter Yechiel Karniol. A long, dynamically rich, slowly unwinding take of a Turkish classical theme by early 20th century composer Tanburi Cemil Bey might be the best track of them all. Or it could be the spare, haunting Greek gangster blues tune Smyrneiko Minore. Or for that matter, a rare. achingly beautiful excerpt from Astor Piazzolla’s Five Tango Sensations featuring the great bandoneonist/composer himself.
There’s also a shapeshiftingly lush Terry Riley piece featuring the vocals of Le Mystere Des Voix Bulgares; a Homayun Sakhi Afghani rubab tune that straddles the line between Middle Eastern and Indian music; a scampering collaboration with Chinese pipa virtuoso Wu Man on a rousing traditional song; and a little gentle Bollywood and Irish folk at the end. It’s an apt summation of this group’s hall of fame career, one that simply refuses to stop.