Date: February 3, 2012
Date: December 15, 2011
Venue: Brooklyn’s Irondale Center
Photos by Phillip Stearns
Review by Augusta Palmer
Alex Waterman’s production of Vidas Perfectas is a new Spanish translation of Robert Ashley’s 1979 opera, Perfect Lives. It’s a Buddhist soap opera, a series of visual and vocal images simultaneously held together and pulled apart by illusion.
In addition to the eloquence of the libretto, a recent performance at the Irondale Center in Fort Greene brought together an amazing cast of characters. Ned Sublette’s Raoul de Noget was an incredible creature, a lounge lizard dressed in black, never obscured by the brim of his Stetson but casting a large shadow with his physical presence and his voice. Elio Villafranca coaxed beautiful sounds out of the piano at center stage, embodying more than merely playing the role of Buddy, The World’s Greatest Piano Player. Ably supported by Elisa Santiago and Abraham Gomez-Delgado as a chorus of other roles, de Noget and Buddy propel us through a series of worlds.
Date: Thursday, January 5, 2012
Venue: Le Poisson Rouge (NY)
Review by Matt Cole
On Thursday, 5 January 2012, the Jessica Lurie Ensemble opened up a 4-band pre-2012 NY Winter Jazzfest concert at La Poisson Rouge with a very strong set, which was dominated by selections from her upcoming album, Megaphone Heart. Naturally, this band is led by multi-instrumentalist Jessica Lurie, who is known for her saxophone pyrotechnics in Living Daylights and The Tiptons Saxophone Quartet. In addition to Ms. Lurie on the saxophone, flute, and vocals, the band consisted of longtime JLE stalwarts Allison Miller on drums, Erik Deutsch on keyboards, along with frequent collaborator Will Bernard on guitar and a (so far) rare appearance by Chris Lightcap on double bass.
It is very hard to pin down the JLE with regards to genre or style. The band can go from Balkan sounds, to avant jazz, to rock, to gentle ballads and back again in the space of a set (and sometimes within the space of one song). All of the musicians are virtuoso players on their respective instruments, and have excellent listening and communication skills.
Text by Sohrab Saadat Ladjevardi and Jim Hoey
Now in it’s 8th year, NYC’s Winter Jazzfest sent out an impossible dare to city jazz fans this time in 2012: “Pay the low price of $45 for two nights and we dare you to try to see over 60 acts in four venues around the West Village”.
The clubs that featured bands are some of the oldest, and smaller, rooms in the city: Le Poisson Rouge, Sullivan Hall, The Bitter End, Kenny’s Castaways, and Zinc Bar. In trying to manically beat a path from spot to spot hoping to catch a favorite act, over 4000 music lovers made this year’s festival probably the most successful yet, thanks to the hard work of founders Brice Rosenbloom and Adam Schatz and the promotion efforts of Boom Collective and Search and Restore.
Since the closing of many of the more avant-garde downtown venues like Tonic and the original Knitting Factory, the city has felt a loss in the jazz scene; sure there’s always Lincoln Center, but what about the emerging artists, hungry to push boundaries? At times it’s felt like maybe the old “Jazz is dead” cliche is actually starting to ring true, with so much shifting sand under the feet of those in the scene, so to speak, and everything spreading out to Brooklyn. Here in NYC, that would be unbelievable, unacceptable.
Azam Ali and (most of) the members of Niyaz played two shows in Philadelphia on Thanksgiving week. I left from my home in Maryland on Sunday the 20th and travelled to the northeast suburbs of Philly to visit with family. Monday afternoon I headed into the city and found the venue, Ibrahim Theatre, at International House on Chestnut St. Having a few hours to spare, I sought out the Occupy Philadelphia site to get a first-person view of the encampment, and perhaps some perspective that the media was not presenting.
Returning to the venue for the show, I was pleased to find a somewhat ethnically mixed crowd, and a dance floor! Raquy and The Cavemen, from NYC, opened the show with their energetic mix of drums, guitar and kamanche (Persian spike fiddle). Azam, her husband and co-writer Loga Ramin Torkian, and 3 others took the stage. They performed several songs from Azam’s latest release, From Night to the Edge of Day as well as favorites from the two Niyaz recordings. Azam invited the audience to the dance floor towards the end of the show, and it filled with mostly women, swirling, arms lifted, hips swinging.
