Category Archives: Reviews

Concert review: META – proved again to be a well-blended confection of jazz and African (both Subsaharan and Northern) musics and sensibilities

Date: April 27, 2013
Venue: Nublu (NY)

Review by Matt Cole

On Saturday, 27 April, META played the early set at Nublu, giving a high energy performance to an attentive and willing-to-dance crowd which grew as the show went on. META is a multinational band which consists of frontman Meta on multilingual vocals and occasional percussion, Ari Hoenig on drums,  Francois Moutin on bass, and Thomas Enhco on keys.

manhattan_1-150x150META‘s sound draws from many influences. While overall, they usually maintain a jazzy sensibility on song structure and improv, often with a predominantly jazz over Subsaharan pop feel, the rhythms often veered into funk territory, and the band occasionally steered into dubby spaces, and even gave a few hints of prog rock (and the jam bands which drew influence therefrom). The band is notably tight and together live, even when mixing styles or melting into chaos, and displayed a talent for grooving well in odd meters. On occasion, two of the instruments (including Meta’s soulful voice) would play in unison together. They tended to stay inside more than a straight-up downtown unit might, but went out sparingly and tastefully; that is, not for show, but in service to the music.

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Concert Review: Akshara – has proven themselves to be master musicians, whose work is exemplary of beauty and sublimity.

Date: April 30, 2013
Venue: Cornelia Street Café (NY)

Review by Dawoud Kringle

DSCF1318Akshara is a percussion-based group whose compositions and improvisations combine Carnatic and Hindustani classical genres. The group performs original compositions by Bala Skandan, demonstrating the powerful and complex rhythmic structures inherent in South Indian classical music. The leading percussion instrument, the Mridangam, was played by Skandan. The group also featured Sriram Manesh on hand percussion, Mithun Radhakrishna on mandolin, Jay Ghandi on bansurai, and special guest Richard Bennett on piano.

They began with a composition in a 5 beat cycle. The percussionists did a duet within the rhythm; at times bringing triplet phrases into the 5. The percussion and bansurai / mandolin traded back & forth. They would explore all the permutations of the phrases and melodies. Bansurai & mandolin would play variations on the main melody so that it would expand and contract. They came together and wove the piece into several intricate teehais.

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Concert Review: Marc Ribot’s Ceramic Dog barking out a nuclear meltdown alarm – loud and ferocious but tranquil and beautiful at times

Date: May 5, 2013
Venue: Le Poisson Rouge (NY)
Review by Ancelmo James

Last week I headed down to Le Poisson Rouge to see Marc Ribot perform for my first time since 2004, and then, it was with Los Cubanos Postizos. This time it was with Ceramic Dog – Ribot accompanied by Shahzad Ismaily on bass and electronics, and Ches Smith on drums. This particular show was the CD release party of their new album Your Turn (Northern Spy) and was also the band’s first night home from a tour of Japan. A point which Ribot commented on by asserting that they didn’t suffer from jet lag because they spent all of their 7 days in Japan operating “on New York time” a feat which takes a good amount of “well…something” according to Ribot.

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CD Review: Sameer Gupta “Namaskar” – a unique approach to Indian / jazz fusion

D06036F00GF8YP87PDH58{0}_large  Artist: Sameer Gupta
Title: Namaskar
Label: Motema Rec
Genre: Indian jazz

 Review by Dawoud Kringle

Bass and piano hang a low note in the air. A sarangi asserts itself as the voice of a sad worldly wisdom. That Ab (or A; I am too engrossed in this beautiful music to pause the CD and check with an instrument or tuner) in the bass, shimmering cymbals, and crystalline piano chords weaving around that ancient voice. The groove and structure of the tabla, bass, and piano make their entrance, and the sarangi establishes the melody and explores its possibilities. Thus does “Aaye Ne Balam,” the first track on Sameer Gupta’s Namaskar CD begins.

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