The Jazz Gallery's Composer Series: 2002
Jason Lindner begins the set with one of his compositions, "Russian Dance". A strong rhythm player, Lindner immediately establishes a Slavic/gypsy beat which he accents with an eastern minor mode melody. Dafnis Prieto locks in impeccably and supports the motif Lindner has established through a layered set of polyrhythms that provide accented color. Trumpet player Avishai Cohen uses this rich background to stream a distant yet crisp and pulsing melody. Lindner carries his initial motif and then breaks it down to a minimalist counter point to add greater effect to Dafnis's drumming, and then ushers it up again with a thrust of brass. The dance is exotic and passionate. We are engaged from the onset and informed that it has many turns and steps, both delicate and forceful, of which we must be prepared for if we wish to keep up.
The dance theme is extended in Preito's piece "Trio Absolute" a work reflective of the rhythmic tradition of his homeland Cuba. "Cut the clave and see how it tastes", he comments in his notes. The song is powerful right from the get go, Lindner keeps up with heavy cords as Prieto leads the charge at a driving pace, sometimes staccato and then polyrhythmic again. He dons the drum set and flexes it, using it as if it is another layer of skin. This piece exists in a territory where 4/4 is un-welcomed, puro cubano. We tremble.
The next piece is another Prieto tune, "3 Poems/ 1 Song". Chilean-New Yorker singer Claudia Acuña is welcomed to the stage to sing. She warms the stage with a presence that is bright and sensual. When she sings it is fresh and flowing as she embraces the rhythm and tonality of the beat and melody. We hear the range of a rich voice that Acuña uses to lead the group through the dynamics of the song to reach a heightened plateau and vista. The piece is broken up into three sections as the title indicates. An introductory dark section, a middle-eastern interlude and a punto guajiro finale, a true musical and cultural synthesis. The arrangement works to blend the three disparate moods. The song embodies the cultural backgrounds of those playing, Israeli, Latino and New Yorker.
James Hurt / Dafnis Prieto: November 24th
I return the next evening for the closing performances of the Composer's Series. I am to hear more works of Dafnis Prieto, this time in a trio format with Luis Perdomo on piano and John Benitez on bass. Sharing the bill this evening is avant-garde composer and pianist James Hurt, who is to present us with his new works which he called "Audio Cinema".
James Hurt begins the set by quietly walking up to the piano and with no introduction embarks on what would be a soundscape of dramatic-noir themes. He creates an ambiance of sound that immediately evokes a cinematic feel. As if wandering through the forest in a David Lynch film or opening a forbidden door at the end of a dark hallway, Hurt's music is mysterious and suspenseful yet not corny. He tests us with a synthesizer, pushing our ears and sensibilities with a sound that is somewhat familiar of a starter Casio keyboard, and then after setting a presence of almost nostalgia and dreams, he returns to the baby grand and awakens us again to a new scene of characters and settings.