New York Music Daily

No New Abnormal

Tag: Erdem Helvacioglu

Canland: A Goldmine of Rare, Legendary New York Performances

What better time than now to launch an archive of irreplaceable live recordings from the past thirty-three years? Canland just went live a couple of days ago with several days worth of footage of concert performances by iconic figures as well as fringe players from across the worlds of the avant garde, jazz and new classical music since 1987.

On May 10 of that year, a trio of rising star composers – Michael Gordon, Julia Wolfe and David Lang – staged the first annual Bang on a Can Marathon of new music in a stuffy Soho loft. Over the next three decades, the mostly-annual event would take over larger and larger venues and become a New York institution.

If you ever went to one of the marathons, it was obvious that everything was being painstakingly recorded. Relatively little has made it to youtube, one of the reasons why Canland is such a goldmine. The other is that it’s still a work in progress: what’s up now is merely a greatest-hits version, along with some obscure treasures from the marathon’s early years, plus some footage from various shows by the house art-rock band, the Bang on a Can All-Stars.

In keeping with the organization’s goal of breaking down boundaries between musical genres, the diversity of the music is astonishing. Need something soothing and soul-nourishing? Innov Gnawa‘s fifteen minutes of ancient Moroccan trance-dance grooves will do the trick (for the record, this blog wasn’t there when the band played it at the 2017 marathon at the Brooklyn Museum).

If you can handle something harrowing, click on Ensemble Signal’s meticulously grim 2011 version of Wolfe’s Cruel Sister, at the World Financial Center atrium. This blog didn’t exist until a couple of months later, but that piece ended up topping the list of that year’s best songs. One of many other fascinating Wolfe works here is her microtonal, drifiting, echoey Williamsburg Bridge, from the inaugural 1987 marathon.

Lots of big names are represented: Pauline Oliveros, Guy Klucevsek, Meredith Monk, the World Saxophone Quartet, Tania Leon, Phil Kline, Tan Dun, Keeril Makan and both guitarists in Sonic Youth. There are iconic pieces like Frederic Rzewski’s Coming Together – which appears many times in several different arrangements. Terry Riley’s In C is also here, less frequently. There are pioneering works by Ives, Xenakis, Glass, Andriessen and Saariaho plus snippets of Brian Eno’s Music For Airports.

As the years go on, it’s obvious the Bang on a Can hydra are keeping their collective eyes on the ball, showcasing new music by younger artists including Bora Yoon, Gabriella Smith, Amir ElSaffar, Missy Mazzoli and the late Johann Johannsson. The roots of this music also get their due. The Cassatt String Quartet revel in the otherworldliness of Ruth Crawford Seeger’s 1931 quartet. International Contemporary Ensemble play Galina Ulstvolskaya’s strange, insistent (and very brief, barely twelve-minute-long) Symphony No. 5.

And the more off-the-wall material is just as entertaining. The Kazue Sawai Koto Ensemble play one of the very first compositions to feature bass koto (some of it sounds like a posse of possums under the lid of a concert grand piano). In 1989, a pickup group who call themselves the World Casio Quartet play no wave guitar legend David First’s looming, atmospheric Plate Mass; nineteen years later, the Bang on a Can All-Stars tackle a similar yet more somber and animated Erdem Helvacioglu piece. All this is just the of the iceberg. In the mood to go way, way down the rabbit hole? This is your chance.

The Top Thirty New York City Concerts of 2016

An informed snapshot of some of the most amazing performances across the five boroughs from a year that started out with some promise and ended with the whole world on edge and dreading the worst. Of all this blog’s year-end lists, including the 50 Best Albums and 100 Best Songs of 2016, this one’s the most fun to put together. And the most most individualistic: everybody’s got their own favorite concert moments. While it wouldn’t be hard to think of a hundred from the past year that deserve mention, that would be overkill. It all comes down to triage: apologies to the dozens of artists who played transcendent shows in this city in 2016 who aren’t represented here because of space constraints. Next year, dudes!

Concerts are listed chronologically; the very first one could be the best of the bunch.

Karla Rose at 11th St. Bar, 1/6/16
With her allusive lyrics, her silken voice and enigmatic stage presence, Karla Rose personifies noir. In 2016, out in front of her psychedelic, darkly cinematic twin-guitar band Karla Rose & the Thorns, she played Webster Hall, opened for first-wave punk legends the Dickies and the king of powerpop, Paul Collins. But her most intriguing show of all might have been this low-key trio set with World Inferno bassist Sandra Malak and pianist Frank LoCrasto, unveiling several new, mysterious numbers.

The 35th Anniversary of BC Studios, 1/15-16/16
Producer/guitarist/art-rocker/professional antagonist Martin Bisi booked a global cast of talent to perform and record a long timeline to commemorate his legendary Gowanus space, which might not last much longer if it isn’t landmarked. Highlights of the marathon weekend included slinky jazz punks Barbez, goth legend JG Thirlwell, haunting Middle Eastern noir singer and bandleader Ajda the Turkish Queen, a historic reunion of legendary 80s noiserock band Live Skull – who, back in the day, were better than Sonic Youth – and Bisi himself.

Gato Loco at Joe’s Pub, 1/29/16
The mighty psycho mambo band ambushed the audience with a battalion of baritone sax snipers throughout the space to bolster their explosive, darkly majestic reinventions of themes from the Verdi Reqiuem

Greg Squared’s Circle at Barbes, 3/6/16
The pyrotechnic multi-reedman and co-leader of Raya Brass Band – who’ve made frequent appearances on this page over the last few years – brought a bunch of A-list Brooklyn Balkan talent to work out about two hours’ worth of epically explosive new original pieces

Big Lazy and Mercury Radio Theater at Barbes, 4/1/16
The cinematic noir legends continue their monthly Friday night residency at Brooklyn’s best music venue; pound for pound, this twinbill, with the ferocious Philadelphia circus punk band, was probably the best of the bunch. Big Lazy’s best gig without a supporting act was probably this past May at the Lively, a great little Meatpacking District basement bar that lasted only a few weeks.

Kinan Azmeh and Erdem Helvacioglu at Spectrum, 4/9/16
Syrian clarinetist and Turkish guitarist join forces for a smoky, sinisterly ambient depiction of the horrors of war. Keep your eyes out for a forthcoming album of this material.

The Bright Smoke at Mercury Lounge, 4/14/16
Mia Wilson’s harrowingly intense art-rock band took their dynamic, explosively crescendoing live show to the next level at this one: it wouldn’t be overhype to say that they’re the closest thing to Joy Division that New York’s ever produced.

Greek Judas and Choban Elektrik at Barbes, 4/28/16
Greek Judas play careening psychedelic metal versions of classic hash-smoking and gangster music from Greece and Cyprus in the 20s and 30s. Choban Elektrik do the same with themes from across the Balkans, with organ and violin out front instead of screaming guitars. A real wild night, sort of like seeing the Doors and Iron Maiden on the same bill somewhere in the Aegean.

Ambrosia Parsley, Chris Maxwell and Holly Miranda at Hell Phone, 5/5/16
Short sets from the goth-tinged songbird and then the Arkansas gothic songwriter, followed by a raptly intense set from the cult favorite noir Americana singer, who showed off her chops on bothTelecaster and piano.

The Satoko Fujii Orchestra New York at I-Beam, 5/17/16
The room was so packed it was impossible to get inside, after the start of the great jazz pianist/composer/conductor’s shattering, angst-drenched suite reflecting horror and terror in the wake of the Fukushima nuclear meltdown on March 11, 2001. Watch out for the forthcoming album.

Eden Lane at Caffe Vivaldi, 5/29/16
Velvet-voiced jazz chanteuse Stephanie Layton channeled a century’s worth of existential angst and longing in front of her tightly swinging band, with a set packed with obscure treats from across the ages, including a vivid detour into the Erik Frandsen songbook.

Goddess, Ember Schrag and David Grubbs at a private party in Brooklyn, 6/3/16
Unsettlingly theatrical psychedelia, opaquely venomous Shakespeare-influenced Great Plains gothic songs and vast, deep-space guitarscapes to wind up one of the funnest nights of the year.

Lorraine Leckie at Pangea, 6/8/16
Backed by a tight, stripped-down version of her incendiary band the Demons, the eclectic songstress treated an intimate audience to everything from noir cabaret  to surrealistic art-rock. Her full-throttle Bowery Ballroom gig in November might have been even better.

 Attack and Tipsy Oxcart at Barbes, 7/5/16
Violinist Marandi Hostetter’s slinky, classic Levantine bellydance group made a great opener for the boombastic Balkan/Middle Eastern dance jamband.

Mariachi Flor De Toloache and Patti Smith at Lincoln Center Out of Doors, 7/20/16
The all-female Mexican-American folk ensemble mesmerized the crowd with a plaintive set that ranged from mariachi, to rancheras, to some sly psychedelic rock. Then the queen of dark downtown New York art-rock and her band scorched through a characteristically fearless, defiantly populist, epic set of classic anthems and poignant newer material.

Robin Aigner and Kotorino at Barbes, 7/21/16
Brooklyn’s most deviously lyrical, torchy historical songwriter/chanteuse and her excellent, swinging Americana band followed by the darkly intense, phantasmagorical circus rock/art-rock/mambo crew

The Sway Machinery and Hydra at Joe’s Pub, 8/4/16
The debut of the ongoing collaboration between the psychedelic cantorial rock jamband and singer/composer Sarah Small’s lustrous, haunting Middle Eastern/Balkan trio with Yula Beeri and Rima Fand was every bit as entrancing as it promised to be.

Sandcatchers at Barbes, 8/9/16
Surfy, uneasy, richly psychedelic Middle Eastern jamband with a lapsteel along with guitar. Wow!

Bombay Rickey at Barbes, 8/12/16
Powerhouse singer/accordionist Kamala Sankaram brought her four-octave vocal range and also a sitar to a characteristically serpentine set of psychedelic cumbias, Bollywood, southwestern gothic themes and an electric take of a classic Indian raga.

Dan Penta at Sidewalk, 8/14/16
“Now that’s songwriting,” marveled one listener gathered in the back room of the East Village shithole where the harrowing, surrealistically intense frontman of great, obscure New York bands like Jagged Leaves, the Larval Organs and Hearth played a relatively rare solo set of relentlessly doomed anthems and dirges.

The Chiara String Quartet play Bartok from memory at National Sawdust, 8/30/16
The group’s new double-disc set of the complete Bartok quartets has a bristling, conversational quality, echoed by this performance of the sullen Quartet No. 1 and the chilling Quartets Nos. 3 and 5

Ben Holmes and Patrick Farrell at Barbes, 9/3/16
The hauntingly tuneful trumpeter and his longtime Yiddish Art Trio bandmate, pyrotechnic accordionist Farrell, played their creepy, carnivalesque new Conqueror Worm Suite, based on the Edgar Allen Poe poem.

Ensemble Fanaa at Rye Bar, 9/7/16
Otherworldly, microtonal tenor saxophonist Daro Behroozi’s eerily trippy gnawa-jazz trio with bassist/gimbri player John Murchison and drummer Dan Kirfirst slayed at their debut at Barbes back in July. They were even better in this cozy downstairs South Williamsburg boite.

Anbessa Orchestra at Barbes, 9/9/16
The fiery guitar-and-horn-driven Ethiopian psychedelic funk band put on a pretty ferocious show here back in May. This one was even hotter, sweatier and wilder, with some auspicious new material.

Hearing Things at Barbes, 9/11/16
Another band who slayed at a Barbes show that earned a rave review here, but whose next gig at the Park Slope hotspot was even hotter. Saxophonist Matt Bauder, organist JP Schlegelmilch and drummer Vinnie Sperrazza spun and stomped and slunk their way through a darkly psychedelic mix of surf and go-go originals.

The Allah-Las at Baby’s All Right, 9/17/16
About an hour and a half of lushly catchy three-minute retro psychedelic jangle, clang and twang, fueled by the overtone mist from Pedrum Siadatian’s twelve-string. That the best song of the night was a surf instrumental speaks to the quality of this band’s tunes.

The Attacca String Quartet and Jeff Lynne’s ELO at Radio City, 9/18/16
A bucket-list show. The Attaccas impressed with their ability to hold a sold-out crowd who didn’t seem likely to have any interest in composers like John Adams, but the ensemble kept their attention with a blazing, smartly curated mini-set. Visionary art-rocker Lynne’s band included only one remaining member from the iconic mid-70s lineup, and they played mostly radio hits instead of deep album cuts. But the new, young-ish ensemble was stoked to share the stage with one of the world’s alltime great tunesmiths, and he sang as strongly as he did forty years ago. Not bad for a guy who notoriously hated touring and playing live.

Darcy James Argue’s Secret Society at National Sawdust, 10/2/16
Along with the Satoko Fujii Orchestra New York’s Fukushima suite, this was the most intense show of the year, the composer/conductor stern and enigmatic out in front of his mighty big band as they blustered and lurked through his crushingly relevant new conspiracy theory-inspired suite

Satomi Fukami, Masayo Ishigure and others at Merkin Concert Hall, 10/5/16
A feast of spiky, interwoven Japanese koto sounds. featuring the music of legendary 20th century koto virtuoso and composer Michio Miyagi

LJ Murphy in the East Village, 10/8/16
The charismatic noir blues bandleader was at the top of his game, skewering security state paranoia, smarmy East Village gentrifiers and little Hitlers of all kinds while his explosive three-guitar band the Accomplices careened and roared behind him.

Steve Ulrich and Mamie Minch at Barbes, 10/14/16
The debut live collaboration between this era’s definitive noir film composer and the darkly compelling resonator guitarist/blueswoman, a live score to Windsor McCay’s pioneering early animated film The Flying House, turned out to be even more haunting than expected. Then they played some blues, and some Johnny Cash

Sahba Motallebi at Symphony Space, 10/21/16
This concert never could have been staged in the pyrotechnic tar lute virtuoso’s Teheran hometown, because she’s a woman. Her slashing volleys of tremolo-picking and whirlwind riffage were pure adrenaline. That this was a duo performance with another woman musician, percussionist Naghmeh Farahmand made this a special slap upside the head of Islamofascists everywhere.

The Spectrum Symphony with organists Janos Palur and Balint Karosi at St. Peter’s Church, 11/4/16
Possibly this century’s only New York performance of concertos for organ and orchestra featured a richly textural take of the Poulenc concerto plus the world premiere of Korosi’s menacingly cinematic Second Concerto for Organ, Percussion and Strings plus works by Mendelssohn and Bach. Pound for pound, the most mighty, titanic, epic show probably staged anywhere in this city this year.

In 2015, women artists ruled this list; this year, acts were split evenly along gender lines. Tellingly, even more so than last year, about sixty percent of these shows were either free or a pass-the-bucket situation. Clearly the action in this city, in terms of live music at least, is on the ground floor.

Kinan Azmeh and Erdem Helvacioglu Evoke the Horror of Living Under Tyranny

Clarinetist Kinan Azmeh and guitarist Erdem Helvacioglu debuted their harrowingly cinematic duo project last night at Spectrum. An attempt to sonically portray life under oppressive political regimes, some of the music had the icy, technopocalyptic shifts of late 80s Brad Fiedel film scores. As the series of electroacoustic themes segued into each other, the music grew somewhat more kinetic and eventually hit a horror-stricken peak, coming full circle at the end. A one-man orchestra with a Les Paul and a laptop, Helvacioglu methodically and meticulously built lingering, grey-sky atmospherics while Azmeh played simple, plaintive, elegaic modes, eventually rising to the kind of effortlessly serpentine phrasing that characterizes much of his work as a bandleader.

Woven into the music were brief snippets from speeches by the three Assads of Syria and Turkey’s Recep Erdogan. It would be extreme to characterize the autocrats’ stridency and fervor as Hitlerian, but the similarity was unmistakable. Azmeh wove a lattice of uneasily leaping, chattering phrases as Helvacioglu built a somber backdrop of nebulous cumulo-nimbus washes and echoey deep-space pulses. It came across as perhaps an Anatolian take on Steve Reich. Spare, funereal, belltone guitar phrases built to a desolate echo chamber; Steven Severin’s film scores and Sava Marinkovic’s rainy-day tableaux came to mind.

As the suite went on, Helvacioglu’s lines became more incisive and less atmospheric, like a minimalist David Gilmour. Likewise, Azmeh’s phrases grew more animated and ornamented, sometimes with a lamenting wail, sometimes as a possible call to arms, with just the occasional hint of Middle Eastern microtones.Dynamics rose froma whisper to a single blast from a terrified vortex, then back down to echoing pools of sound with a lingering, ever-present menace, a symphony of sorrowful wartime songs. “That was intense,” Helvacioglu remarked to Azmeh, a little out of breath, after the show. He wasn’t kidding. Look for more duo performances by these two, as well as an upcoming National Sawduat show on April 17 at 9 PM with Azmeh leading his Middle Eastern jazz band. Tix for that one are $25.