New York Music Daily

Global Music With a New York Edge

Tag: laura Vilche

Mesmerizing Accordion Sounds Serenade Bryant Park, Again

As all of us in New York have been painfully reminded over the last few days, summer is far from over. But there’s a silver lining: the summer outdoor concerts aren’t over yet, either. One of the year’s best series so far – no surprise – has been the Bryant Park accordion festival. Considering how widely that little box has infiltrated cultures around the world, it’s also hardly a surprise that this may be New York’s most multicultural annual festival.

This past evening’s installment was characteristically sublime and eclectic. Laura Vilche is one of relatively few women whose axe is the even smaller bandoneon so widely used in tango music. She played very kinetically, rhythmically and also remarkably sparsely, underscoring the sheer catchiness of her sometimes slinky, sometimes brooding mix of Argentine and Paraguayan themes. Her dynamically shifting take of the Carlos Gardel classic La Comparsita was the biggest hit with the crowd gathered on the folding chairs and blankets provided for concertgoers. Then she packed up her gear and moved to another of the park’s five quasi-stages to serenade another group; many followed.

Where Vilche was spare and almost otherworldly direct, Latvian-born accordionist Ilya Shneyveys played lavishly and even epically throughout a set of original and often relatively obscure klezmer songs from across the Jewish diaspora. He opened his set by explaining that he was going much further afield, beyond horas and Hava Nagila, and he wasn’t kidding. With long, lingering, suspenseful intros building to waterfalling and then absolutely torrential volleys of notes, he used every second of the allotted time to air out every bracing chromatic and adrenalizing minor key in a series of dances and more subdued material. The highlight was a slowly crescendoing, rather mysterious diptych typically played as an introductory theme for wedding guests. “Cocktail music,” he smirked. He’s playing tomorrow night, Sept 6 at 9 PM at Drom with pyrotechnic Russian klezmer band Dobranotch to open this year’s New York Gypsy Festival; cover is $15 if you get tix before midnight.

As much fun as it was to watch those two musicians, the stars of this installment of the accordion festival were Eva Salina and Peter Stan. In two separate sets, they played a lot of the same material, completely differently the second time around. The mesmerizing Balkan singer and her longtime accordionist collaborator aren’t just frontwoman and accompanist: each is as integral to the music as the other. Toying with rhythm and taking their time making up intros, outros and meticulously thought-out solos, they brought a jazz sophistication to a blend of Romanian and Serbian tunes from across the Romany diaspora.

Their first take of a catchy dance number, imploring Romany husbands to come home to their wives and kids from faraway jobs, was very straightforward. The second was slower and much more plaintive. Jaunty dance rhymes contrasted with haunting ballads of loss and longing. Both musicians’ fearsome technique was in full effect, whether Stan’s supersonic volleys of chromatics and grace notes, or Salina’s minute, microtonal melismas and ornamentation.

Next week’s first episode of the festival is on Weds Sept 12, starting at 5:30 PM with a phenomenally good lineup including but not limited to Ismail Butera playing Middle Eastern and Mediterranean music, Will Holshouser’s Indian-influenced accordion jazz, Shoko Nagai’s mix of klezmer and Japanese folk, and Sadys Rodrigo Espitia’s oldschool Colombian cumbia and vallenato. The festival’s grand finale is two days later, on Sept 14, and starts a half hour earlier.

The Bryant Park Accordion Festival: Like a Free, Weekly Midtown Golden Fest

The Bryant Park accordion festival is like a free Midtown version of Golden Fest – except without the food. It could also be said that Golden Fest is a two-night, Brooklyn version of the Bryant Park festival, without the blankets and the lawn chairs. Either way, each is a bucket-list experience for New Yorkers. You’ll have to wait til next January 12-13 for Golden Fest 2019, but starting at 5:30 PM every Wednesday through Sept 12, you can see pretty much every global style of accordion music in Bryant Park. The grand finale is on Friday the 14th starting a half hour earlier.

While Golden Fest is a marathon feast that lasts into the wee hours, you can pop into Bryant Park after work and hang out for however long you want. Five different performers play short sets starting on the half hour at five different stations throughout the park until 7:30. Golden Fest is this country’s big celebration of music from across the Balkans and to some extent, the Middle East. While styles from those parts of the world are also part of the Bryant Park festival, so far there’s been a lot of music from south of the border.

It was fun to stop in by a couple of weeks ago to catch a set by Erica Mancini, who pretty much embodies what the festival is all about, considering how vast her stylistic range is. Last year she did blues and swing; her show last week was a slinky mix of cumbia, tango and a bolero. Playing both instrumentals and sad ballads and and singing in nuanced, plaintively modulated Spanish, she was backed by a sensationally good mandolinist who ran through a pedalboard for icy, watery textures, trippy delays and gritty noise loops.It was as if Chicha Libre got back together…with an even better singer out front.

Last week’s show was on the hottest day of the year. That Rachelle Garniez managed to get through four sets without sitting down, with that big box strapped to her back, was impressive enough. That she sang as soaringly and powerfully as she ever has, in that heat, was even more so. She’s probably the best songwriter of the past twenty years, bar none – and that’s not meant as a dis to Steve Wynn, or Hannah Fairchild, or Aimee Mann. Methodically and even energetically, Garniez made her way through Tourmaline, a wistful yet forcefully determined individualist’s waltz, then worked her way up from a suspenseful, atmospheric intro into the strutting, coy hokum blues innuendos of Medicine Man.

She flipped the script on Aesop by reimagining the tale of the ant and the grasshopper in a fairer world where a bon vivant shouldn’t have to choose antlike drudgery to survive. She also treated the crowd on the terrace on the Sixth Avenue side to a deadpan verse or two of the Stones’ Paint It Black – which in its own surreal way was just as twistedly fun as the Avengers’ cover – and also the lilting, pre-apocalyptic tropicalia of Silly Me, from her 2000 album Crazy Blood.

And playing button accordion, fiery Venezuelan Harold Rodriguez really worked up a sweat, backed by supple bass and percussion in a literally volcanic set of rapidfire cumbias, a merengue tune and a handful of vallenato standards that got the expat crew singing along. He’s at Barbes with the group on Sept 17 at 9:30 PM

This week’s installment of the festival, on Sept 5 starting at 5:30 PM features singer Eva Salina and accordionist Peter Stan playing haunting Romany ballads,  Cordeone doing Portuguese fado laments, bandoneonist Laura Vilche playing tango, and Romany swing accordionist Albert Behar, among many others.