Review: Three Cheers for the Luciana Souza Trio

Same time, last week, I was awaiting with bated breath  to hear some Latin Jazz. And why did it take so long for me to post, well.. where do I start! It has been one of those weeks when you never know what you are doing, why you are doing it but you know that you have to keep doing it as your life depends on it- aka exam week!  Also, there were three unique performances  ( Luciana Souza, Schubert Piano trios and Bela Fleck)  in store that week and my musical senses along with my academic were totally  overwhelmed. So anyway, here goes….

It started with a very Latin-jazzy tune with Luciana Souza crooning away to the lovely harmonising of Romero Lubambo on his guitar and then Cyro Baptista joined in with his percussion. So at the very beginning itself, I was spellbound by the magical phrasing, the perfect harmonising and the totally crazy but superb percussion!

Luciana Souza Trio
Luciana Souza Trio

I don’t know which artist to talk about first in the trio! You know what, let me do it in the alphabetical order (Ok, i was lying, i wanted to talk about Cyro first!). So first comes Cyro Baptista. Ok, this man is a crazy genius. He is like a mad inventor who just gets the most fabulous tunes out of ordinary things. He had a gas pipe whistle, a brush, some beads, a wheel like thing with balls embedded in it that made such a distinctive clanging sound, shakers made out of vegetables and gourds, metal sheets, rocks…. he was totally amazing in his percussion arrangement. Apparently, Cyro’s favorite store is Home Depot where he goes looking for new material for new percussion instruments.

Of course, in today’s electronic world, you can get whatever sound you want. But hearing those sounds (like a bird flying away or rain pouring down) live produced from real tangible instruments on stage? Well, the effect is totally different. His superb grasp of the rhythm and the way he blended all the funky sounds from his myriad  instruments into the music was just breath-taking.

Cyro Baptista

In his solo, he showed a glimpse of what he could do.  You could here the tides and the ocean one minute, then the next moment you were in a jungle with  the birds chirping and the whooshing of the wind. But then, suddenly you would be transported ina train to join an army parade. There were so many combinations of sounds – with echos, with tribal sounds, animal sounds- he was a true entertainer.To me, he was the highlight of the evening. But, that said, the others weren’t any less stars.

Luciana Souza has a voice that is made for this genre. She has this pleasant yet deep yet not too shrilly voice (it’s hard to describe it!). She can sing so fast (almost breathlessly) or slip into a very slow soul-stirring song that makes you cry. Her phrasing and the improvisation was impeccable. To me, “firewood” was a very memorable song with very very creative percussion.There was a song about a two exes on the dance floor dancing with their current partners respectively, with the female looking at her ex with a longing (ah…these songs are so melancholic). In this one, Luciana’s phrasing (like tatara or papparapap similar to solfeggios of a sort being put together),matched Romero’s harmonising so well. This was a fast number and she executed it so well.

The charming Luciana Souza
The charming Luciana Souza

Her song selection is very enjoyable. Her music flows like poetry and she is drwan by the sounds of nature too. “Tide”, “Amulet”- all these songs were thoroughly enjoyable.  She explained that she is looking at the bossa nova genre from a new perspective- that of a Brazilian who has settled elsewhere and that is where most of her songs come from. The deep sorrow in most of the Brazilian songs will be somewhat surprising to people from other countries. But it had a tinge of dark humor that was pleasant.

Now about the other star  of the trio- Romero Lumbambo. Remember when he had come alongwith Ms. Gal Costa? Well, I saw a different side to him today. He was totally in his element and was making “jokes with his guitar”. His  playing was just fun and complimented the singing and the percussion. The spontaneity was amusing and totally entertaining.

Romero Lubambo
Romero Lubambo

When the performers are true friends and have true respect for each other’s work, it shows. The camaraderie and as a result of it, the beautiful music and add the artists’ great sense of humor to it-it was a party that you didn’t want to miss!

At the end of the concert, there was an added bonus! We had a Q&A session with them and learnt so much more. Of course, I had to go ask a stupid question right. I asked them if they rehearsed (ok ,people, I don’t know much. me a jazz novice  you see).. And Luciana, smilingly said,” No. We know the arrangement of the song. Then it is based on the audience, the mood of the evening and it’s all spontaneous.  Maybe we should rehearse more (with a twinkle)”.

hmmm… nah! these guys are great doing what they do and I don’t think they need any practicing!

As for Latin Jazz- an art form where there is so much room for spontaneity and creativity-  I am loving it!

Yours truly,

Krithika, for [art]seen

Krithika is totally looking forward to Cyro Baptista’s ” Beat the Donkey” show on Mar 13th!

Review: So Percussion

So Percussion (2007 New York performance of Steve Reich’s “Music for Pieces of Wood”)
So Percussion (2007 New York performance of Steve Reich’s “Music for Pieces of Wood”)

So, this post is pretty delayed. There is no real excuse.  We all talk about how busy we are. Since we are all busy, it is boring to talk about. I won’t bother.

The background on this one is that I am generally pretty skeptical of what can only be described as “weird shit”.  Obviously, the presentation of weird shit stretches across all art forms, across all sectors of life.  Damien Hirst-weird shit. Philosophy- weird shit.  Unicycles- weird shit.  The list goes on. I expected weird from So because they planned to play a set of only Steve Reich. Of course, “shit” may be weird to me and not so weird to you. However, although I can’t be certain, I would guess that there is some consensus to the fact that the work of composer Steve Reich is pretty weird.  Reich, they say, is a composer of contemporary classical music- or, is that classical contemporary?  He works in the realm of minimalism, art broken down to its most fundamental aspects.

First off, the UMMA space was a really great space for this performance.  The apse, in the old part of the museum, had rows and rows of chairs set up and the upstairs had seating around the railing overlooking the main floor.  We sat upstairs to catch a view all of the instruments as well as the audience.  In an improvement from past performances at UMMA, the stage did not have a curtain- it was just an elevated platform at the end of the hall.  We were truly in a museum- even museum security! (Why do I get the impression that museum security guards are pretty square?  Maybe art museums should look into hiring security guards that are interested in art in order that they can also act as guides or helps in the galleries.  Or maybe it’s just the uniform and the mandatory cold glares that make me think they are squares- easily changeable characteristics).  One particularly cool only-in-an-art-museum moment was during the “Mallet Quartet” piece, you could see the shadows and reflections of the percussionists movements on the art and the walls in bright golds and oranges and, well, normal shadows.

And, the music was weird. Definitely. Especially the piece that was not percussion instrument based- “Four Organs” (in which, a UofM music student played the maraca part for 15 minutes.  A crazy show of endurance.  Listen to the song below and think about this kid keeping that exact maraca rhythm for 15 minutes.  You just wanted to cry for the kid and his forearms.  Absurd).  However, despite its experimental force, the pieces found ways to connect with me, rather easily.  In the excerpt from ‘Drumming’, I could hear the United States’ history with Africa, and a US battle march played with all four percussionists on a line of six (yes? I think, six.) drums and their interconnections and intricacies.  In every piece, really, I could find something to latch onto, something to think about and study.  The pieces they played are in the playlist below (except for the newest piece, “Mallet Quatet”, which they were playing for just the second time in the states.  It is a Reich piece commissioned for So Percussion (and a few other percussion groups).

I had the opportunity to talk to these guys for a bit at the Eve after party- a really fun time hearing these young dudes philosophize and tell stories in the hip bar atmosphere.  But, at one point, one of the guys, Adam, was talking about what he has seen from being on tour and playing around the country.  He said that people are trying, again, to understand what is true American culture- like, what is ours and what is theirs? And, perhaps slightly biased, but nonetheless, he got the sense that rhythm and percussion just made sense to people in terms of helping to define American culture.  That, although the Reich pieces were pretty out, people could find ways to relate to their patterns and rhythms.

Great night.  The dudes are working on an album with Matmos for this summer. Matmos always seems to be doing pretty cray cray thangs- so definitely watch out for that.

Booyah, Bennett

Preview: Schubert Piano Trios (today @ 4 pm)

It’s Valentine’s day and if you are bored of the candies, flowers and the usual, treat yourself and your Valentine to the Schubert Piano Trios concert today at the Rackham Auditorium. Cellist David Finckel and Violinist Philip Setzer along with pianist Wu Han, will perform  Schubert’s two piano trios.

To quote  wikipedia, “A piano trio is a group of piano and two other instruments, usually a violin and a cello or a piece of music written for such a group. It is one of the most common forms found in classical chamber music.” (this is for the benefit of those new to classical chamber music like myself!).

Schubert composed his  famous piano trios during his final year. He died at a very early age of 31 but was a prolific composer who wrote almost 1000 works in his short career. His piano trio in E-flat major is especially very popular and has been used as a theme in many modern movies.

 Wu Han is one of the most influential musicians in classical music and is a versatile collaborator with the best ensembles of today. David Finckel (also the husband of Ms. Han) is a cellist who is an amazing soloist as well as a much-sought after collaborator. Philip Setzer is the founding member of the Emerson String Quartet that has won over eight Grammy awards and the Avery Fisher Prize. As you can see, each of today’s performers are stars in their fields and seeing them perform together is a special Valentine Day’s treat!

What: Schubert Piano Trios

Who:

Wu Han, piano
Philip Setzer, violin
David Finckel, cello

When:  Sunday, February 14, 4 pm
Where: Rackham Auditorium

Tickets at the box office.

Come celebrate love with Schubert!

Yours truly,

Krithika, for [art]seen

Preview: A Night of Magic, Music, and Milk Based Espresso Drinks

I’ve been waiting for this weekend for almost a month now. It’s Valentine’s Day, love is in the air, and a good friend of mine is singing at Café Ambrosia. Abigail Stauffer is performing in the basement seating section of this fantastic café, a place where members of the LGBT Commission has spent many hours studying and building friendships and that serves exceptional coffee.

Abbie is a campus artist that plays at many different venues, one of the most notable being the Ark in downtown Ann Arbor! She is absolutely amazing and I love to hear her sing. Last I knew there were still some tickets available at Café Ambrosia for $5, but they’ve been going fast. I encourage you to visit the café to purchase tickets. If you don’t, you’re really missing out, and for that I am sorry.

It really will be a wonderful night, this Saturday night. I’m taking my date to the concert, and then we’re heading over to the U-Club in the Union to attend the Valentine’s Day dance hosted by the LGBT Commission “A Rainbow Tie Affair.” Quite a night and I’m so excited. Just to add a little more advertisement for the dance…I’m not really sure if I’m aloud to do this, but I’m going to do it anyway. Michigan is all about intergroup relations and collaboration. The Dance is Saturday from 9:00 pm to 12:00 am in the U-club. The dress is semi-formal, but no plain black and white. Many of us will be wearing rainbow ties or bright colors. Good music, friends, and possible new dates for Sunday. We ask that you bring some sort of donation for the Ruth Ellis Center in Detroit, such as toiletries, clothes, or non-perishable foods. We are also collecting money for a second charity, an MSM group in Kenya. Please be as generous as your college pockets will allow, but there is no mandatory cover charge for the dance.

Enough said about that, back to Abigail. Like I said; fantastic singer and guitar player!

What: An Evening with Abigail Stauffer- An Intimate Valentine’s Day Weekend Show
When: Saturday February 13, 2010, 8:00-9:00pm
Where: Ambrosia Café basement. Ambrosia is on Maynard, right after walking through Nickel’s Arcade
Cost: $5 tickets for sale now at the Café
Who: My friend Abigail Stauffer

I hope to see people there, or at the dance, or both. I’ll be the one in the Rainbow striped vest (hopefully).

As Always,
This is Danny Fob: Artist and Art Reviewer

Review: The Bad Plus (++++)

The Bad Plus (Ethan Iverson, Reid Anderson, and Dave King)
The Bad Plus (Ethan Iverson, Reid Anderson, and Dave King)

In high school, in our age of the new driver’s license, I had a crew of friends that became very anti-social.  Most of the kids with new driver’s licenses found a new freedom in planning a night out, not on a dad’s watch- but their own, or not having to ask a mom for a drop off at a girl’s house (or even worse, a pickup at a girl’s house. Awkward).  Instead, these guys asked their parents for use of the family car for the night just to drive around town with each other.  They would pack five in a five seater or seven in a mini van, open all the windows, pass a spliff, and, most importantly, put on a jazz record- full blast.  Then, for hours, just cruise.  The only communication was the focused passing of the spliff and the yelps and groans that were their responses to the jazz record.

I never rode with them. I didn’t smoke but, more isolating, I didn’t know when to yell.  I enjoyed jazz. I always have. But, I enjoyed jazz with the old folk that frequented Hill Auditorium for Wynton Marsalis.  We put on nice clothes on a Sunday afternoon,Wynton charmed us with his anecdotes, and played impeccably. We clapped politely when the set was over.

This was not how the boys in the car on Huron River Drive listened to jazz.  They interrupted when they wanted, responded when they were moved.  They didn’t just let Wynton play for them (well, they quickly wrote Wynton off as a square and a sell out so it wasn’t Lincoln Center from the speakers anyway)- they were fully engaged as a part of the music.  They said this is what jazz, the only true American art form, is about.  Not about playing to concert halls and suits but to people, to individuals, to communities.

So, in order to get a chance to hang out with my friends and stuff, I am trying to learn jazz, “the language of jazz” (as taught by UM jazz prof. and jazz legend Geri Allen).  On Thursday night, as a hands-on lesson, I had the great opportunity to see The Bad Plus, a ridiculous trio with roots in the Midwest.  The Bad Plus is probably best known for covers of well known pop and rock songs including Nirvana’s Smells Like Teen Spirit and Neil Young’s Heart of Gold along with a new album of covers- For All I Care- that features vocalist Wendy Lewis.  However, in the second of two shows, The Bad Plus played a set of mostly originals.

These guys are nuts. Ethan Iverson, on the keys, introduces the band and the set list with a stoicism straight out of a Roman sculpture however, upon sitting down, Iverson, the bass man Reid Anderson, and the drummer Dave King swing so hard and with so much emotion.  While Iverson strokes the keys while seemingly doing leg squats over his bench, King pounds then caresses then pounds away at his drum set while pulling out an army of children’s play instruments to augment his sound.  And, King yells just like my friends driving down Main St.  He’s not speaking to his band mates or the audience, he’s yelling at his drum set, the sounds of his trio.  Also, just like the dudes packed into the green CRV, the 9:30 show audience was a hip, young crowd- a bunch of giddy kids in the lobby after the show.

It was still the Lydia Mendelssohn Theater with assigned seating and shiny programs.  There were still nicely dressed ushers escorting us to our seats.  But, Thursday night, the spirit of the communal jazz experience- or, at least, how I am beginning to understand it- seemed to be in full fight with the powers that be, ‘the man’.  Next time, UMS presents the Bad Plus live at the Blind Pig? Doors at 9, $10 cover?  Or, UMS presents Wynton Marsalis and Lincoln Center Jazz playing ‘Flim’ by Aphex Twin (as The Bad Plus did Thursday night)? Or, will I have to start smoking weed to really understand what goes on in the car rides around town?

Over and out, Bennett

(Below are streams of my favorite Bad Plus album, ‘These Are The Vistas’ and the new album ‘For All I Care’) Oh, and for more live jazz, check out the UM Jazz Festival next Saturday.  Christian McBride Band, Geri Allen, Rodney Whittaker, Detroit Jazz Festival Orchestra, University of Michigan Jazz Ensemble.  Going to be crazy.  Schedule here.  Tickets here from Ticketmaster (or, as others have noted, ‘TicketBastard’).

e

Review:Chicago Symphony Orchestra

Ahh… where do I start to describe the magical evening with the CSO?

The program  started with scintillating Ravel’s Le tombeau de Couperin (“a piece written as a memorial”). As was his style, Ravel composed each movement in memory of  a friend.  Originally a piano piece, Ravel made into a orchestral suite and it was simply superb! Though it is a memorial, it is so delightful and delicate yet at the same time carries weight. The prelude was so graceful. The rest of the movements are all based on dances and the outcome is so pleasant. That was a treat! I luuuuuuuuv Ravel’s music!

The second piece of the evening was the Flute concerto by Dalbavie. This contemporary piece was so different. The flute concerto had so much going on (so many twists and surprises) that you had to pay attention to it throughout ( unlike Ravel’s  piece where you could close your eyes and be transported to your favorite ballroom and have a nice dance!). It had a mysterious feel to it and would have suited so well to a movie with a sober and dark theme. It is not my kind of music though!

Mathieu Dufour, Prinicpal Flute for CSO
Mathieu Dufour, Prinicpal Flute for CSO

As for the execution of the piece, Mathieu Dufour, the principal flute for CSO was absolutely mind-blowing.This piece is immensely complex with varying patterns that demand the best fom the flautist and my oh my, M. Dufour was just perfect. The high notes were so clear, his absolute control over the notes and his breath control- it was just a pleasure being there.  It is so amazing to see someone who is so good at what he does. To me, he was the highlight of the show!

And then came the dessert of the evening’s program- Bluebeard’s Castle!

The awesome imagination of the composer Bartok, the perfect background score where the music described the surrounding so well,the great lyrices , amazing vocals of the lead singers
(Michelle DeYoung and Herr Struckmann were really at their best), the nice balance of  tragedy and dark humor and of course the flawless execution under Mr.Boulez- it was just the best you could get from a symphony orchestra!

Bartok’s Bluebeard’s Castle was amazing in terms of musical as well as lyrical content. But would I listen it to it a 100 times?- No! It is just kind of creepy music that you associate with a horror movie. But it is so well-suited to the libretto it was written for!

Mr.Pierre Boulez, the emeritus conductor,led the orchestra so effortlessly through the complicated Bluebeard’s castle. It is so great to be in the presence of such greatness.

Summing up, it was an enchanting evening!

Delighted,

Krithika, for art[seen]