Artist: Uri Sharlin and the DogCat Ensemble
Title: Back in the Woods
Label: Folk Dune Records
Genre: fusing jazz and classical influences with Balkan rhythms, Arabic modes and Brazilian harmonies
CD Review by Dawoud Kringle
Uri Sharlin (accordion, piano, and wurli) and his group the DogCat Ensemble (Gili Sharett; bassoon, Matt Darriau; bass clarinet, Kyle Sanna; guitar, Jordan Scannella; bass, Rich Stein; percussion, John Hadfield; percussion, and special guests, Ital Kriss; flute and alto flute, Ze Mauricio; Pandeiro, and Michael Lavalle; zabumba) have presented a nicely composed and executed musical offering.
The first track, “Night Swim” opens with a guitar riff that almost suggests a pop song, but then brings the listener to a European landscape, invoking images of distant shores, and sidewalk cafes inhabited by night dwelling friends and seekers of social adventures. It is a lively opening piece.
This gives way to the next track, “Monte Verde” which, using forest sounds sets the stage for a gentle excursion. The accordion throws a flourish into the air, and is taken over by gentle, rain-like harmonics on guitar, supported by sparse percussion. The accordion and other wind instruments play ambient melodies that suggest bird calls (in and outside the range of the chordal harmony set by the guitar). Then, a song emerges, establishes itself, and gives way to the atonality of the forest, before allowing the song to return. This interplay goes back and forth; almost like nature and man-made civilization struggling for dominance. In the end, nature wins.
“One for Frankie” follows. This features more lush arrangements, yet it is not thickly orchestrated. As the song progresses, it gives way to more lively rhythms, and more complex incursions into its own melodic and harmonic possibilities. Whoever Frankie is/was, his presence in Sharlin’s life has clearly made a deep impact.
Photo Credit: Fiton Gjonbalaj
There are many interesting things on this CD. “Dia #342” offers the most “out” playing on the CD. “The Real Dogcat” brings the listener to a reggae place, while at the same time, staying true to the unified musical vision of this collection. “Mundau by Day” and “Mundau by Night” are two halves of the same whole. The former begins with a Spanish guitar intro that releases an almost Piazolla-esque response from the accordion, with the slightest of percussion seasoning this delicacy: and ending on an unresolved chord. The later begins with disturbing sounds that are gently soothed by the piano; almost as if Erik Satie were calming a child woken by a nightmare. Woodwinds ease their way in, and offer entrance to an insistent beat that morphs into a percussion dominated excursion into another dream. “Don Quixotie” begins with a jazzy keyboard riff that is soon enveloped in the overall Euro mood of the whole collection. The guitar reminds the music that it’s playing jazz; and they respond by meeting the differing styles halfway. “Baiao” is a lively and happy dance in a somewhat South American vibe. It moves with joy and abandon, and leads the listener through some unexpected twists and turns, without straying too far from the path it set itself on.
Sharlin, a native of Israel with impressive musical credentials, has brought together a very European (especially French) sounding collection of music in this release. The arrangements are tight and well produced. Each musician plays well, and is consciously aware at all times of the essence of the ensemble, and the essence of the music itself. This is very well done music that, while occasionally delving into experimental places and a variety of moods and textures; all of which are deftly handled, is not too demanding on the listener. All in all, a fine musical experience.
Next show in NY
Tonight, October 23rd, at Barbes in Brooklyn with Grammy-nominated classical mandolinist Avi Avital.
