Tag: @cbcarey

Best of, CD Review, File Under?, Pop, Recordings

Best Pop Recording of 2017: Björk – Utopia

Utopia

Björk

One Little Indian

Björk’s latest album is her longest (clocking in at 72 minutes) and her most daring yet. On past recordings, cadres of female musicians with fierce chops held sway – employing French horns and strings. This time out, a dozen Icelandic flutists are the ensemble of choice. Alongside them is the electronic musician Arca, in an enhanced role as collaborator rather than appearing, as he did previously, once the songs had already been written. These performers are augmented by additional classical musicians and singers, making for a heady mix of timbres.

Where Vulnicura was about personal devastation – Björk’s breakup with her then-partner artist Matthew Barney, Utopia is about the returning of equilibrium, healing, happiness, and even romance. Thus, these two efforts demonstrate both sides of personal vulnerability; the musical differences are stark. Vulnicura’s “Black Lake” is a dark meditation of despair, whereas Utopia’s “Arisen My Senses” contains sensuous melodic lines and an arrangement replete with bird-calls and flutes. The songs on Utopia are intricately designed, containing beautiful variegated textures crafted with tremendous artistry. But the music displays lightness of touch too; indeed, it often floats. Björk’s voice retains a formidable range, both in terms of compass and of the myriad demeanors she flexibly coaxes from it.

Much has been made about Utopia’s ornate melodies and lack of rhythmic propulsion in the press; I would suggest too much. “The Gate” may be an extended track, but it has one of the most soaring, viscerally moving tunes in Björk’s catalog. Likewise, a noteworthy example where propulsive beats play a role is the fascinating “Courtship,” in which Arca puts skittering percussion alongside the flute choir and then juxtaposed against it. In the midst of this mix of sounds, Björk’s voice sits mid-register and the lyrics venture into a narrative “storytelling” mode.

Many stories are told in the course of Utopia. Often, they mirror the vocalist’s own experience of reentering the world of dating and relationships. That Björk at times approaches the idea of love with trepidation and at others with jubilation makes her willingness to share lyrics based on autobiography all the more touching.

In a year filled with revelations of abuse and betrayal, Utopia reminds us that just around the corner from desolation can be restoration and healing; one hopes many will take solace from the album’s message. I do, and In my opinion, it is the best pop recording of 2017.

by Christian Carey
CD Review, File Under?, jazz

Vijay Iyer Sextet – Far From Over

Vijay Iyer Sextet

Far From Over

ECM 2581

 

Steve Lehman, Alto Saxophone;  Graham Haynes, Cornet, Flugelhorn, Electronics; Stephen Crump, Double Bass; Tyshawn Sorey, Drums;  Vijay Iyer, Piano, Electric Piano; Mark Shim, Tenor Saxophone

 

After successful outings for ECM in groupings ranging from duets (with Wadada Leo Smith) to a string quartet plus piano/electronics quintet, Vijay Iyer returns for his fifth recording for the label with a jazz sextet date, Far From Over. This time out, he employs an old school resource: the electric piano. This plus concert grand are prominently featured, but by no means dominate the proceedings. Iyer affords his collaborators considerable latitude. Given the level of artists with whom he is partnering, this is a wise choice indeed.

 

Graham Haynes, in particular, is new to me and makes a forceful impression. His clarion parts on unison tutti, derby calls on the title track, and crackling electronics on “End of the Tunnel” impress both melodically and texturally. Altoist Steven Lehman supplies a formidably funky solo on album opener “Poles.” Recent MacArthur “Genius Grant” recipient Tyshawn Sorey gives a forceful master class in polyrhythmic drumming on the title track (and elsewhere). He and bassist Stephen Crump make an admirable rhythm section duo, in frequent dialogue yet also able to sustain simultaneous alternative pathways. The sextet may be the only jazz ensemble with two MacArthur grant holders – Iyer was previously awarded one as well. “Down to the Wire” features energetic soloing both from the pianist and tenor saxophonist Mark Shim, whose round tone and extensive range are put to good use.

 

The group as a whole tackles unison sections with enviably well-coordinated yet energetic performances. Far From Over is one of the most impressive jazz outings this year, from the standpoint of solos, collective offerings, and engaging compositions. Recommended.

 

by Christian Carey
CD Review, CDs, Contemporary Classical, early music, File Under?, Guitar, Recordings

Maderna and Berio on ECM (CD Review

ecm4815034

Now, and Then
Orchestra Della Svizzera Italiana; Dennis Russell Davies, conductor
Pablo Márquez, guitar
ECM 2485

November 17 sees the release of Now, and Then, an ECM recording of transcriptions by composers Bruno Maderna and Luciano Berio. In addition to his creative pursuits and new music advocacy, Maderna (1920-1973) was in demand as a conductor of classical repertoire. Rather than performing the instrumental music of the Italian Renaissance and Baroque eras with its original, reduced, forces, he made transcriptions of figures such as Frescobaldi, Legrenzi, Gabrieli, Viadana, and Wassenaer (all included on this CD) for the modern orchestra. They are successful arrangements, spotlighting the sonorous brass choirs that epitomize the antiphonal music of this era while deftly incorporating idiomatic passages for the other sections of the orchestra.Russell Davies leads sumptuous yet finely detailed performances of these pieces.

Berio (1925-2003) recreated his Sequenza XI for solo guitar as the ensemble work Chemins V (1992). It is a delirious, sensuous trope on the original, allowing the guitarist – in this case the estimable Pablo Márquez – plenty of virtuosic solo work, while responding to it with imaginative orchestral textures. Some of these serve to augment the percussive quality of the guitar, while others lengthen and sustain the pitch material, creating a haloing effect. Partway through, a thunderous climax in the percussion precedes the longest of the solo cadenzas, underscoring that this is no mere arrangement but a profound reshaping of the original.
In the United States, Russell Davies may be best known for his championing of minimalists. However, like Maderna, his catalog and duties have been widespread both in terms of repertoire and geography. Witnessing him, years ago, tackle formidably complex premieres with American Composers Orchestra, it is gratifying to hear him return to similarly intricate fare in the Berio. Now, and Then is an imaginative and finely wrought recording: recommended.

by Christian Carey