New York Music Daily

No New Abnormal

Tag: Alexis Marcelo

Haunting Gravitas and Playful Beats with the Karuna Trio at Lincoln Center

This past evening at Lincoln Center, the Karuna Trio shifted between nocturnes and space jams. The nocturnes were intense and brooding, sometimes bordering on the macabre; the space jams ranged from starry effervescence to deep-nebula murk. Considering how many Euro-tourists pass through Jazz at Lincoln Center on any given night, free jazz like this would go over well at a space that so rarely programs it.

But it was great to see the trio of percussionist Adam Rudolph, drummer Hamid Drake and pianist Alexis Marcelo spinning all those sounds out of thin air, a couple of blocks to the north. Creative music tends to be all or nothing: when it’s good, there’s really nothing better. But free jazz also attracts some of the most annoyingly self-indulgent, pretentious players around. You know the type: they only play free jazz because if, perish the thought, they might actually have to say something meaningful, or acknowlege, let alone converse with their bandmates, that might limit their precious self-expression. So watching these three pros teaming up to build a majestic series of waves, and then ride them, was redemptive to say the least. Not to mention a lot of fun.

This was a leisurely, thoughtful performance, the three players leaving plenty of space for each other to think out where they’d go next, or respond to an idea that someone had thrown into the mix, and that empowered the audience just as much. Which made sense, considering Drake’s opening remarks that the spectators are just as integral to a concert as the musicians.

Marcelo played both the role of anchor and outlier. Opening with flickering, light-dappled phrases, then shifting to ominously resonant, vampy chromatic themes often enhanced by or echoing from a synthesizer perched above the keys, he was the dark knight of this soul. Other times, it was clear that the two drummer buds were going to lock in on a long series of subtly interwoven polyrhythms, with Marcelo adding color and texture, and after knocking at the door with one long hammering phrase, finally pulled the two percussionists back out of the sun and into the shadows.

There was also a playful, salsa-tinged interlude initiated by Marcelo; rippling echoes of Satie and the neoromantics; a pause for trinket noisemakers, an unselfconsciously funny one for singing bowls; hints of birdsong and deep-forest wildlife; and a final gnawa-influenced interlude with Rudolph on sintir and Drake on daf frame drum that was beside the point. Anyone in the house who was at this same space a couple of years ago to witness some of Morocco’s great maalems of gnawa music would have recognized that for the ersatz groove that it was. But the depth, and rapture, and generous interplay of the first four-fifths of the show lingered after the trio had left the stage.

Rudolph and his Go Organic Orchestra team up with the Brooklyn Raga Massive to create a monstrous, improvisational forty-person raga orchestra tomorrow night, Dec 13 at 7 PM at CUNY’s Elebash Hall at 365 5th Ave. just north of 34th St.; cover is $25. This year’s final free concert at Lincoln Center’s atrium space on Broadway just north of 62nd St. is on Dec 19 at 7:30 PM with Los Rumberos del Callejón bringing their oldschool salsa dura sound out of the alley. The salsa dance concerts here are insanely popular; showing up a half hour early wouldn’t be a bad idea

A Spare, Edgy, Incisive Jazz Poetry Album From Brilliant Violinist Sarah Bernstein

Sarah Bernstein has to be the most fearlessly protean violinist in any style of music. Just when you think you have her sussed, she completely flips the script. Beyond her brilliance as an improviser, she’s a master of eerie microtonal music. As a result, she’s constantly in demand, most recently this past weekend at Barbes as part of thereminist Pamelia Stickney’s hypnotically haunting quartet.

But Bernstein’s best music is her own. Her previous release, Propolis was a live benefit album for Planned Parenthood with an alternately stormy and squirrelly improvisational quartet including Alexis Marcelo on keys, Stuart Popejoy on bass and Nick Podgursky on drums. Her latest release, Crazy Lights Shining – streaming at Bandcamp – is with her Unearthish duo featuring percussionist Satoshi Takeishi, a return to the acerbic jazz poetry she was exploring a few years ago. Patti Smith’s adventures in ambient music are a good comparison; Jane LeCroy’s Ohmslice project with Bradford Reed on electronics is another. Bernstein’s playing the album release show on a great triplebill on May 30 at around 10 PM at Wonders of Nature; cover is $10. Similarly edgy, eclectic loopmusic violinist Laura Ortman opens solo at 8, followed by fearlessly relevant no wave-ish songwriter Emilie Lesbros.

“Come in to feel free, no fear,” Bernstein’s echoey, disemodied voice beckons as the album’s initial soundscape, For Plants gets underway. Takeishi’s playfully twinkling bells mingle with Bernstein’s shimmery ambience and resonant, emphatic vocalese.

Bernstein has never sung as storngly as she does here, particularly in the delicately dancing, sardonic Safe:

No one can find you
No one can eat you
You’re not alive
You are safe

Is that a balafon that Takeishi’s using for that rippling, plinking tone, or is that  Bernstein’s violin through a patch?

She subtly caches her microtones in the deceptively catchy, balletesque leaps and bound of Map or Meaningless Map:

…A calm enthusiasm should suffice
The fuzziness of an empty sleep
The rush to extrovert, sure thing!
Expressing can feel like living…

Bernstein’s uneasily echoey pizzicato blends with Takeishi’s rattles in the album’s title track, which could be the metaphorically-charged account of a suicide…or just an escape narrative. In the instrumental version of The Place, the two musicians build from a spare, slowly shifting mood piece to a slowly marching crescendo. A bit later in the vocal version, Bernstein sings rather than speaks: “There are war crimes and recipes and kisses remaining,” she muses.

The acerbically brief Drastic Times starts out as a snippy cut-and-paste piece:

Drastic times require tragic measures?
We live under a system (drastic)
…Like anyplace where thought control is under physical control
..Maybe that will change when the rest has exploded
Drastic time
Maybe that is something to look forward to!

Little Drops follows an allusively twisted narrative into chaos, in the same vein as Meaghan Burke’s most assaultive work. The album’s final cut is the kinetic Four Equals Two, its catchiest and seemingly most composed number, complete with a nifty little drum solo. Count this among the most intriguingly relevant albums of 2018.