Meredith Monk's Songs Of Ascension has been a public work in progress, continuously shaped by its environment. When the multi-dimensional composer had an afternoon devoted to her work at the Whitney Museum Of American Art (February 2009), the piece took on the shape of a formative musical performance, but a month later, at the Guggenheim, further Ascension Variations were made, in a full locational manifestation.
This five-day run at the Brooklyn Academy Of Music felt like the finished version, now corralled within a conventional theater space. During its first half, it was maybe too minimalist, even for a seasoned admirer of slowly-uncurling stasis. Monk and her fellow singers arrived from all aisle-points, starkly exposed as they made whooping calls that might have descended from the Sami village traditions of the Arctic Circle, or maybe the goat-chasing mountain-yelps of further southwards in Central and Eastern Europe. The Todd Reynolds String Quartet (sometimes a quintet, with a singer, Alison Sniffin, guesting on violin, or maybe a violin guesting as a singer) was mobilised too, wandering about the entire theater-space. Even the cellist, Ha-Yang Kim, played with an instrument slung from her neck. The similarly mobile percussionist John Hollenbeck made singing tones with his array of small gongs, bowed to resonate with the massed voices.
The visual staging was sparse too, as flickering image-tunnels made by video artist Ann Hamilton were projected onto various wall-spaces in the deliberately- and gloriously-preserved crumbling distress of BAM's Harvey Theater. A lone light made long swings on a long cable, and a dancer worked through a series of rotary-then-held poses. The costumes of the performers were more Planet Of The Apes than Star Trek.
The most effective part of this hour-long work was the climactic section, where full ascension is actually achieved, and Monk's core voices are joined by a chorus gathered up in the theater's highest levels. It was this rousing intersection that triggered a deep sensory flashback to the Guggenheim experience, as Monk sat alone, legs akimbo, in the middle of the stage, caressing a harmonium. Slowly, she was joined by the rest of the ensemble, who all carefully laid down in a spread-out pattern. This was the most profound realization of the piece, making the preceding evolution appear less wandering. It's a catchy tune, too.
October 22, 2009
Speaking of tunes with thistly exteriors, the English folk troubadour Richard Thompson is a master of such songcrafting, and this three-night City Winery residency was billed as an all-request extravaganza. Thompson didn't always seem happy with this situation, frequently deciding that he couldn't recall the words or the music, or lining up two or three numbers drawn from his stool-top metal urn, procrastinating until he found a song that he felt the right vibration towards, or setting up a retro-active sequence that eventually felt appropriate. Much of this dithering was theatrical, of course, adding to the dry humor of the evening. In the end, Thompson did manage to perform most of the audience selections.
The large wino space was sold-out on all three nights, and this middle show was populated by a remarkably well-behaved audience. Even those punters who yelled out usually had something worthwhile or amusing to impart. When Thompson was singing and playing guitar, they were suitably attentive. This is the mark of an authoritative performer, who can maintain interest through substantial storytelling verses and dexterous finger-picking solos, using what could be viewed as limited tools to weave out epic musical tales. He placed "1952 Vincent Black Lightning" quite early in the set, which was a surprise move given that it's probably Thompson's best-loved song. He also traipsed through "I Feel So Good," "Beeswing," "Time To Ring Some Changes," and "From Galway To Graceland," but this was certainly no greatest hits package. Given his swift patter and casually off-the-cuff remarks, it's surprising that the American majority managed to decipher Thompson's quips. As ever, he's a master entertainer, though never at the expense of musical integrity. 'Twas a night of morbid laughter, doomed sentiments, and understated guitar-hero moments.
I love jazz because it is the only existing music style which let you
I was first exposed to jazz by Gunther Hampel in Hamburg, around 1972.
I met Ornette Coleman, Butch Morris, Karl Berger, Michel Camilo, a.o.
The best show I ever attended was Salif Keita at the Blue Note in
The first jazz record I bought was the Tony Scott and Hozan Yamamoto
My advice to new listeners: when you listen to my music, please be a
part of it.