Dolunay Raises the Bar for an Amazing Night of Music Downtown This Friday
More about that amazing lineup this Friday, January 15 at Alwan for the Arts at 16 Beaver St. in the financial district. As you may remember from yesterday’s piece here, the acts are slightly staggered, Lolapalooza style, on two stages, so that you – and the booking agents in town for this week’s convention – can sample all of them between 7:45 and around 11. The concert isn’t cheap – $30 – but the lineup is killer. Starting at 7:45 PM: on the fourth floor (the main space of this Arabic-diaspora cultural center), there’s singer Jenny Luna’s exhilarating Turkish/Balkan/Middle Eastern band Dolunay, followed an hour later by similarly intense Palestinian-American buzuq player Tareq Abboushi’s Shusmo art-rock/funk project, then the whirlwind Russian Crimean Tatar Ensemble at 9:45. Upstairs on the sixth floor, there’s wild southern Italian folk reinventors Newpoli at 8, then veteran Malian griot guitarist Abdoulaye Diabate at 9 and then at 10 Punjabi chanteuse Kiran Ahluwalia, who makes mystical, mysterious albums but is much more charismatic and animated onstage than you might expect.
Dolunay’s epic debut album, Our House, is streaming at Bandcamp. Over sixteen tracks, the band weave a bristling tapestry that runs the gamut from quiet and moody, to suspenseful and serpentine, to a sort of elegantly feral dancing quality. The material mixes traditional Turkish and Rumeli (Balkan-Turkish) songs as well as originals: without knowing which are which, it’s impossible to tell the band’s own material from the centutires-old songs in their repertoire. Bracing Middle Eastern modes, eerie chromatics and minor keys rise and fall, sometimes into a gentle, jangly backdrop that brings to mind traditions as diverse as Greek and Macedonian dances or Elizabethan British balladry.
When the band aren’t snaking or dancing their way through an instrumental, frontwoman/percussionist Jenny Luna’s spellbinding voice is front and center. Depending on the song, she can be austere and plaintive, or chillingly imploring, or jaunty and triumphant. Not a lot of the material on the album employs the flickering microtones common to a lot of Middle Eastern music, but it’s when Luna glides in and out of them that she resonates the most.
One of this city’s great fretted instrumentl players, Adam Good plays the oud with his usual incisive resonance, but he also takes a turn on the janglier, higher-register cumbus – the closest thing her to his original instrument, the electric guitar – as well as the less resonant, more plinky tambura. Violinist Eylem Basaldi matches the clarity and inciisveness of the vocals, with several wickedly spiraling, spine-tingling solos throughout the album – and adds her own vocal harmonies to the mix on its most ornate, memorable numbers. Alongside Luna, percussionists Polly Ferber propels the songs through thickets of tricky meters with a scampering grace or steady, minimialist insistence, employing n an assortment of drums from across the region. Turli Tava leader Jerry Kisslinger guests on standup drum on one of the later tracks.
Considering that it bridges the chord-based song structures of western music with the more improvisational, microtonal flair of the Middle East, Balkan music in general tends to be pretty exciting stuff and this album is a prime example: it’s hard to imagine a more enjoyable mix of songs put out by any New York band over the past several months. .