Rapturous Musical Cross-Pollination at Women Between Arts at the New School
Yesterday was the fourth installment of Luisa Muhr’s new interdisciplinary series Women Between Arts at the New School. One would think that there would be several series in this city devoted to women whose work crosses the line between different artistic disciplines, but this appears to be the only one at present. What’s new with Muhr’s series is that it isn’t just a place for women artists who defy categorization: it’s also a space where adventurous established artists can branch out beyond their usual practice.
Case in point: Jean Rohe. She’s known as a songwriter and a strong, distinctive acoustic guitarist (to call her a folksinger would be reductionistic). Throughout her tantalizingly brief performance yesterday’s show, she did a lot of storytelling.
This narrative was harrowing. Rohe was named after her paternal grandmother, who killed herself on December 9, 1961. Tragically, just like her father, Rohe didn’t find out about the suicide until years later. That revelation springboarded an “odyssey,” as she termed it, to find out the truth and what pushed the woman over the edge.
Like many of the projects that find their way to Women Between Arts, it’s a work in progress, and a hauntingly captivating one. Rohe’s fingerpicking channeled distant delta blues grimness with her opening number, then she referenced the Penelope myth with a more expansive, anthemic tune. Her final song, she told the crowd, was set in Hades: “In New Jersey, as we all know,” she mused, drawing a handful of chuckles. The narrative saw her climbing into her grandmother’s old black Buick at a stoplight, to find her crying and incommunicado, a ghost before her time.
Noa Fort is known as a composer of translucent piano jazz informed by classical music as well as her own Israeli heritage. After guiding the crowd through a brief meditation, she had them write down their innermost feelings on slips of paper so she could channel and maybe exorcise those issues. As it turned out, this was a very uneasy crowd. Fort plucked around inside the piano gingerly, George Crumb style before launching into a series of eerie belltones, close harmonies and finally a woundedly descending anthem. She closed with a somewhat elegaic but ultimately optimistic ballad where a calmly participatory crowd carried the melody upwards.
Trina Basu, one of the great violinists in Indian classical music, leads the pioneering carnatic string band Karavika. This time out, she played a rapturous homage to 16th century mystic Meera Bai, joined by Orakel tabla player Roshni Samlal and singer Priya Darshini. Basu explained that she’d discovered the controversial, pioneering proto-feminist poet via the work of 1960s singer Lakshmi Shankar.
Basu opened the trio’s first epic number with elegant spirals that spun off into sepulchral harmonics, then built steam, rising up and down in a series of graceful pizzicato exchanges with the tabla. Darshini sang the second long piece, Basu and Samlal matching its poignancy, an ancient raga theme sliced and diced through the prism of progressive jazz.
The next installment of Women Between Arts is Jan 21 at 3 PM at the New School’s Glass Box Theatre (i.e. the new Stone) at 55 W 13th St., with Meredith Monk collaborator Ellen Fisher, lustrously haunting singer/composer Sara Serpa with cellist Erik Friedlander and saxophonist Ingrid Laubrock, and Appalachian music maven Anna Roberts-Gevalt.