New York Music Daily

No New Abnormal

Tag: ny gypsy festival review

A Wild Night With Dobranotch to Kick Off This Year’s New York Gypsy Festival

Dobranotch means “good night” in Russian. It’s a very understated way of describing the crazy, exhilarating dance party they put on this past evening at Drom to open this year’s New York Gypsy Festival. The Russian klezmer band romped and blasted through a fiery set of originals and radical reinventions of more traditional material, showing off their virtuoso chops as well as an irrepressibly boisterous sense of humor.

Klezmer dance music is fun by definition, but these guys are beyond the pale. There was a point about midway through their set where their their guest dancer, Lea Elisha, went twirling across the floor in front of the stage, her mane of curly hair flying, an unstoppable human gyroscope. Meanwhile, frontman/violinist Mitya Khramtsov played behind his back, Hendrix style.

OK, that’s common enough. Next, he played with his bow behind his back and his violin tucked under his arm.

Then he stuck his bow down his pants and fiddled the violin on the bow – without missing a catchy minor-key riff. After bowing with his mouth, then sticking the bow in the dancer’s mouth and fiddling it, he finally handed the bow to a surprised audience member and had him do it.

Ilya Gindin, the band’s not-so-secret weapon, started the show on alto sax, then switched to oboe, firing off lickety-split spirals and slashing chromatic trills. Then he switched to clarinet. Slowly and methodically, he disassembled the instrument between verses, moving further and further up the scale until there was nothing left to play but the mouthpiece and then the reed. By then, it was all he could do to slowly bend a note up to where it was supposed to be, but nobody wanted the joke to stop.

Beyond the theatrics, this is an incredibly tight party band. More often than not, Khramtsov and the horn section would lock in on their harmonies while Gindin did his thing. Roman Shinder fired off fast flurries of banjo chords as Evgeny Lizin thumped out the groove on a big tapan bass drum and accordionist Ilya Shneyveys fleshed out the sound with rich washes of chords and elegant filigrees.

Khramtsov took a couple of stark, strikingly rustic departures into otherworldly weaves of microtones, veering away from the center before leaping back into the traditional western scale. The best original of the night was an epic, darkly Bessarabian-flavored anthem written by trombonist Grigory Spiridonov, who puffed out staccato basslines when he wasn’t harmonizing with tenor saxophonist Max Karpychev and the rest of the group.

They reinvented the iconic Algerian protest anthem Ya Rayyeh as a gruff but similarly sardonic Russian brass tune. Likewise, they turned a shapeshifting Macedonian bagpipe dance into what Khramtsov termed a “gypsy rhumba,” although it sounded more like a Turkish tango. They finally wound up the night with a third encore, gathered on the floor in front of the audience. An unexpectedly slow, lushly benedictory, moody concluding anthem with edgy solos all around couldn’t douse the crowd’s energy.

The New York Gypsy Festival continues at Drom on Sept 14 at  9:30 PM with the eclectic Underground Horns celebrating ten years of mashing up Balkan, New Orleans and latin brass sounds. You can get in for ten bucks in advance.

Roger Davidson Brings the Party to Drom

It wouldn’t be fair to let the month go by without at least one trip to the New York Gypsy Festival. In its seventh year now, it might be the consistently best music series in this city – especially since it isn’t just limited to gypsy music. This year’s has included Eastern European jazz, gypsy punk, Macedonian fusion and flamenco funk, to name a few styles. And it’s still going on: with five more concerts left, the organizers are selling the remaining festival passes for $25, which at $5 per show is a ridiculous bargain, considering that these include a triplebill with A Hawk & a Hacksaw, Dark Dark Dark and Pillars and Tongues on the 28th at the Bell House and the 29th at Drom.

Is it sacrilegious to say that klezmer is great drinking music? If so, too bad. That’s what composer/pianist Roger Davidson and his all-star band played at their Gypsy Festival appearance at Drom last night. If the room wasn’t sold out, it was close to capacity, the crowd growing as the night went on. Minor keys, or for that matter waltz time, have seldom been so much fun. Davidson’s latest album On the Road of Life is his first adventure in klezmer, and like his bandmates, he’s expanding the style to incorporate other equally ecstatic styles: Russian, Hungarian and other European sounds from further west. As he told the audience, he feels like he’s part of a bigger picture, a constantly evolving tradition that he’s just happy to be part of. His band was as bracing and intense as you would expect from a group with Frank London on trumpet, Matt Darriau on clarinet, Patrick Farrell on accordion and Pablo Aslan on bass plus mandolin, cimbalom and drums.

Davidson REALLY likes 3/4 time, and he redeemed it, over and over again, although frequently those songs would suddenly burst into flames and go doublespeed or four-on-the-floor. The first opened dark and stately, the accordion carrying it until London’s trumpet took over with a jaunty ragtime flair. Darriau got a solo spot thrown at him, completely unprepared – and it might have turned out to be his best one of the night. Likewise, Davidson picked this spot for his best one of the evening as well, nimble and ecstatic, firing off a couple of furious glissandos up and down the keys at the end, clarinet and trumpet joining in a dixieland raveup. That got the party started.

Aslan took a lickety-split, rumbling bass solo for a couple of bars on the scurrying romp that followed, London blazing a path through the darkness on the slow, austere number after that. The trumpeter had introduced Davidson to The Lonely Dancers, which might have been the most unselfconsciously gorgeous tune of the evening, a Russian melody that they built to a lush, brooding majesty and then took down to just Aslan against the accordion and terse piano (the whole band was seldom playing all at once, so when they hit a swell, the effect was intense). Davidson gave a catchy, tiptoeing tune a funky edge before they took it doublespeed with the horns whirling; a little later, they did a particularly mesmerizing version of his nocturne Night Journey, its atmospherics finally punctured by Darriau’s blazing crescendo. They closed with the rapt, suspenseful Equal in the Eyes of God, a tricky, Serbian-inflected dance, then another one of those brooding waltzes with balalaika-ish mandolin, and finally Harvest Dance, whose wicked riff lingered long after the show had ended.

And as it turned out there was another act: London’s Klezmer Brass All-Stars, who are as wild and intense as you would think and don’t really need any press since they’re legendary in klezmer and Balkan circles. And at that point, sadly, there were other places to go and things to do.