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No New Abnormal

Tag: mark feldman review

Devious Humor and Poignancy on Violinist Mark Feldman’s New Solo Album

Violinist Mark Feldman has been a staple of the downtown New York jazz scene since the 90s, notably in his long-running duo with pianist Sylvie Courvoisier. Like innumerable artists during the lockdown, he’s put out a solo album, Sounding Point, streaming at Bandcamp. It’s incisive, purposeful and sometimes haunting, everything the artists he’s played with have sought him out for. But there are just as many moments here that border on hilarious. Feldman’s sense of humor has seldom come across so deviously as it does on this album.

Some of these pieces are built around a single melody line, others are judiciously multitracked. The opening number, As We Are features varations on a coy “here we go!” theme, Feldman building to his usual erudite mix of extended technique and economical melodicism, laced with harmonics, swells and delicate pizzicato. The album’s title track has plaintive, spacious phrases over delicately fluttering sustained lines.

Warriors is an amusingly ornamented multitracked piece including but not limited to swirly glissandos, a plucky march, pregnant pauses, hints of darkly rustic blues and Appalachia: it could be completely improvised. Unbound has a bit of a scramble, calmly whistling buffoonery, and a sly classical quote or two.

The album’s big, almost ten-minute epic is Viciously, which is aptly titled, horrified cadenzas emerging and suddenly giving way to spare, pensive variations on a blues riff, surreal glissandos and strangely muted echoes. Rebound is arguably the album’s funniest number, a mashup of echoey extended technique and all sorts of cartoonish japes.

Maniac is more dissociative than frantic, a playful pastiche of concise riffs. Feldman’s final number is titled New Normal: other than being more ghostly and disturbingly furtive than the other tracks here, it’s impossible to read any references to totalitarianism, surveillance or death by lethal injection into it. Violin jazz fans, and anyone with a sense of humor, should check this out.

Poignancy, Unease and Playful Improvisation from Sylvie Courvoisier and Mark Feldman

Pianist Sylvie Courvoisier and violinist Mark Feldman are one of the most consistently vivid, often hauntingly melodic groups to emerge from the often noisy, acidic New York downtown jazz scene over the past couple of decades. It might seem strange to call a duo a group, but they’ve crystallized a unique and often strikingly poignant sound. Their latest release, Time Gone Out – streaming at Bandcamp – is ironically both their most succinct and expansively ambitious release ttogether They don’t have any duo shows lined up currently, although Courvoisier is playing duo sets this weekend, June 14 and 15 at 8 PM at Happy Lucky No. 1 Gallery with a similarly edgy sparring partner, guitarist Mary Halvorson. Cover is $20.

Feldman opens the new album’s first track, Homesick for Another World, with a steady, allusively chromatic solo passage, then Courvoisier’s harplike brushing under the piano lid signals a shift to misty stillness. The jaunty call-and-response and variations throughout Eclats for Ornette echo Jean-Luc Ponty’s most bop-oriented 60s work, with hints of Stephane Grappelli thrown around while Courvoisier pounces and clusters, up to a bracing, chiming coda.

Limits of the Useful is a playfully crescendoing tone poem, Feldman whirling, sliding and then providing airy ambience for Courvoisier’s unsettling upward stroll; then the two switch roles. They work the same dynamic for Blindspot, but with much more energetic riffage and a droll uh-oh-here-come-the-cops interlude.

From its whirling intro, the album’s epic title track shifts expansively between creepy stillness and the remnants of a cuisinarted bolero. Feldman’s momentary, blazing cadenzas contrast with Courvoisier’s glittering gloom and gravitas as the two rise, fall and then slowly shift toward brightly animated leaps, bounds and glissandos. But all this bustling doesn’t last: is this autobiographical, or a potrait of a thriving scene now scattered by the real estate bubble blitzkrieg?

Crytoporticus has similar Spanish-tinged flourishes, but considerably more flitting ones mingled amid a hazy calm, Courvoisier going under the lid again for dusky flickers. Her haunted Debussyesqe music box interlude midway through is the album’s most arresting moment.

The most striking study in contrasts here is Not a Song, Other Songs, Courvoisier’s stern, stygian lows versus Feldman’s puckish good cheer, although he manages to pull her out of the murk for an unexpectedly carefree, scampering middle section.

The album’s final and most improvisational cut is Blue Pearl, Feldman’s terse phrases holding the center as Courvoisier’s staccato leaps and stabs cover the entire span of the keys. You’re going to see this on a whole bunch of best-of lists at the end of the year.