You have to hand it to Michael Winograd. For his April residency at Barbes, he had the chutzpah to wait for a month with five Saturdays in it. The supersonic, dynamic clarinetist and esteemed klezmer composer/bandleader has one night left in that residency, tonight at 6. Miss it and you miss being in on what could someday be considered a series of legendary performances.
They’ve been that good. This blog hasn’t been witness to a series of shows this adrenalizing since Steve Wynn’s residency at Lakeside Lounge, and that was in another decade. Although Jewish music is Winograd’s passion, his writing and his playing transcend genre. His body of work encompasses circus rock, flamenco, noir cabaret, psychedelia, otherworldly old ngunim and sounds from the Middle East.
“Did you ever hear this guy back in the day, like, 2003?” the Magnetic Fields’ Quince Marcum asked the beer drinker to his right at the bar a couple of weeks ago.
‘No, I didn’t,” the drinker replied. The two sat silent, listening to Winograd and his large horn-and-piano-driven ensemble romp through a darkly vaudevillian melody. “I see what you mean, though. This reminds me of Luminescent Orchestrii.”
“Exactly,” replied Marcum. “Everybody was doing this back then.” And he’s right. The emergence of bands like World Inferno and Gogol Bordello opened up new opportunities for jazz musicians and players coming out of Balkan and klezmer music.
The first and third nights of Winograd’s residency here featured the big band. Opening night seemed like mostly original material – although with Winograd, it’s impossible to tell since he’s so deeply immersed in centuries’ worth of minor keys and slashing chromatics. Night three seemed to be more on the trad side.
Night two was a performance of a psychedelic, serpentine suite based on a Seder service. The clarinetist was joined on that one by keyboardist/singer Judith Berkson and Sandcatchers guitarist Yoshie Fruchter. Berkson channneled Laura Nyro blue-eyed soul and gritty Waitsian blues on her electric piano when she wasn’t venturing further into the avant garde. Fruchter wove a methodical, even darker tapestry of eerie Middle Eastern modes as Winograd shifted between conspiratorial volleys and a lustrous, ambered resonance. It was the quietest and most rapt of these shows so far.
Last week was arguably the best so far, which makes sense since a residency is supposed to be about concretizing and refining the music. For this one Winograd had a rhythm section and a not-so-secret weapon in pianist Carmen Staaf. Incisive, meticulous yet purposeful and unselfconsciously powerful, she brought a Spanish tinge to several of Winograd’s tunes – notably the angst-fueled waltz that opened the show – that brought to mind Chano Dominguez. Meanwhile, Winograd played with equal parts clarity and breathtaking, practically Ivo Papasov-class speed. It was one of the most thrilling shows of the year so far, something that Winograd could easily replicate tonight. See you at the bar at six: Kate and Kat will be working and it’s going to be a wild night. The Dirty Waltz Project play oldtime Americana in 3/4 time afterward at 8.