Elisabetta Brusa: Orchestral Works, Volume 1

This great recording, issued by Naxos, presents five works by Elisabetta Brusa, who injects her symphonic pieces with a powerful sense of dynamic range, deep emotion and a keen appreciation for the evocation of history and literature.  Her Florestan from the late Nineties, for example, "reflects the fiery, passionate and fantastic side of [Robert] Schumann's own character," as the composer wrote in the notes, adding "I also consider it an autobiographica portrait."  The Messidor also from that era is inspired by various musical and literary renderings under the heading of A Midsummer Night's Dream.  1994's La Triade is a symphonic poem "freely inspired by a fable by Aesop" with text by Brusa's father Giuseppe.

The Nittemero Symphony, composed over three years in the Eighties has three movements that "reflect the course and variations of feelings and moods during the entire 24-hour cycle of a day according to the astronomical definition of ancient Greek times" and the ones evoked here are of afternoon, night and morning, respectively.  Brusa was also sure to utilize "new techniques, no-tonal (in part minimalist)" in conjunction "with traditional contrapuntal techniques."  Finally, Fanfare "is a free fantasy" deriving its spirit from musical works "written throughout the centuries for ceremonial and celebratory occasions."  Here again, traditional concepts are "fused within a neo-tonal language and techniques."

This is what makes Brusa's work so fascinating: she intertwines modern compositional concepts with traditional methods and elements so that these works do feel both new and old, but seamlessly so.  The 2001 performance by the National Symphony Orchestra of Ukraine, conducted by Fabio Mastrangelo, is excellent in bringing out the dynamic diversity of the composer's pieces and the sound of the recording is great, as well.

The rear card states that Brusa's explanation for what her music seeks includes "messages of faith and hope for a positive and peaceful future at a time of uncertainty and anxiety."  We are obviously in a hyper-realized period of those feelings and the music on this excellent disc is listened to with her comments in mind.

Folk Songs of Nepal

This is an extraordinary recording taking the listener to one of the most isolated nations on the planet, Nepal, generally only known because of its bordering the massive Himalayan peaks like Mount Everest, the world's tallest mountain.  Featured here are the folk songs of the tribal groups of the Newars and Tamangs Sherpas.  Ethnomusicologist Stefano Castelli wrote in the liners that "preference was given to social rather than musical values" in choosing the material, so the lyrics of some reflect class and economic concerns, often relating to the exploitation of town laborers or general struggles to make enough money, while some songs deal with the overall conditions of humans, and a heart-wrenching letter to a soldier from home.  Other songs are of courtship and love or relate to religious and philosophical themes and sentiments.

Of course, a listener not knowing the language won't get much out of the social aspect unless particular attention is paid to the translated lyrics and Castelli's admittedly interesting summaries.  The musical interest is in the solo and duo vocalizations that, in general, are reminiscent of singing found in other parts of the world, such as the interior of Africa, or in Papua New Guinea, where isolated tribes sing of everyday themes with very little accompaniment, save percussion or rudimentary string and wind instruments.  In this case, it is all percussion, but often utilizing everyday items like benches.

A song like "Song of Manu Tamang" has an appealing melody that sounds similar to folk tunes from the West and its striking story of is of the title figure, who was homeless after being abandoned by a German woman who promised to take him back to her country, but left him in Kathmandu, where he was a thief and sold LSD to make a meager living.  He also sang another tune with the same title rendered in Italian that was a courtship song with modern references to jeans and radios.  Another highlight is "Jhyaure Evening" and its percussion helping the singer stay on track and the succeeding "Jhyaure of Dharma" with its unusual backing vocalization.  The "Jhayangri", a three-part piece nearly 12 minutes long of shaman therapy by the titular figures who are mysterious nomadic healers, is fascinating with its drums, bells and chants, evocative of ancient practices.

Folk Songs of Nepal is another great release of world music from Lyrichord and provides a remarkable musical glimpse into a mysterious country so far removed from our own.

Led Zeppelin: How the West Was Won

From George Crumb to Led Zeppelin.  Maybe this is a pandemic-induced escape from harsh reality and a yearning for them good ol' days of yore when untold legions of teenage boys rocked out to the bombast and bravado of the mighty Zep, but recent months found a rekindled interest in the mothership. How the West Was Won arrived in the mail a couple of days ago and yesterday the triple-disc set, recorded in Los Angeles and Long Beach in June 1972, was listened to twice and it's playing again now.

So, yes, the wails, extemporaneous yelps and other utterances of Robert Plant have been criticized a lot as the apex (or nadir) of so-called "cock rock," and, sure, 25 minutes of "Dazed and Confused" might leave some listeners in those states (though that diversion into "The Crunge" is fun), and, OK, excess may be found in many forms, but, this 2003 compilation from the archives is, as Jimmy Page simply stated in the briefest of notes (no booklet, no photos, or fawning commentary): "Led Zeppelin at its best."

First, this is a band that strode the stages of the stadia of the world like a colossus and the playing is exceptional (and there is quite a comparison to be made to The Song Remains the Same, the only live document we knew at the time and the film of which was seen at a couple of midnight showings at a local theater).  Jimmy Page's jaw-dropping skills (not just the monster and endless supply of riffs and fleet, complex solos, but all aspects of his phenomenal playing, including the filigree, like a little Baroque quote and other touches here and there, and flourishes) is everywhere in ample evidence.  Plant, allowing for his over-enthusiasm, displayed impressive power and has to be credited for projecting to massive crowds above the maelstrom.

The real joy for this listener, though, returning to this material after four decades (!), though, is a fuller appreciation for John Bonham's incredible drumming (his "Moby Dick" showcase aside, cool as that is for someone who does like drum solos), with its diversity, drive and impeccable timing.  Then, there is the quiet, unobtrusive, but essential, contributions of John Paul Jones, who held so much of this together.  A bass player par excellence, a solid keyboardist, and a very fine mandolin player, to boot, Jones really deserves more appreciation for what he provided to the band.

How the West Was Won is bursting with great performances, too many to mention, but two elements really stand out.  The 23 minutes of "Whole Lotta Love" include some fun excursions into "Let's Have a Party," "Hello Marylou," and "Going Down Slow," that show how important early rock was to these guys and which are just plain fun.  Then, there's a staple of Zep concerts from the era, which importantly broke up the aural pummeling, in the form of the acoustic interlude.  The trio of "Going to California," "That's the Way," and "Bron-Yr-Aur Stomp" are really gorgeous, with Plant's more restrained vocals working very well, buy especially with Jones and Page beautifully playing in sync on mandolin and guitar.

There is diversity, a bit of experimentation (whatever listeners then and now make of that), sheer power, undeniable fluency, ambition tending occasionally to excess, and, yes, fun.  While Zep were routinely knocked for lacking the artistry of The Beatles, The Stones, or The Who, comparisons can be unfair and their gargantuan 3-plus hour shows were diverse and, most importantly, entertaining, which is supposed to be the point.  So, whatever the point, a revisitation after forty years is proving to be fun, at a time when that has been sorely lacking.

George Crumb: Complete Crumb Edition, Volume 11

Still with us at age 91, George Crumb is one of the most fascinating of modern composers, creating a wide range of music for ensembles of many sizes and pieces that go from the immensely powerful and dramatic to the mysterious and subtle.  This blogger's first exposure to his music came with the Kronos Quartet's 1990 album Black Angels and Crumb's title piece was staggering to hear for a complete novice to classical, much less the so-called "avant-garde," music.

In acquiring a number of albums of the composer's works over the years, among the most enjoyable are several of the Complete Crumb Edition series by the great Bridge Records.  Today's featured volume is the eleventh which spans time and type in a very enjoyable and enlightening way.  The first third, roughly, of the album consists of an early work "Variazoni" for orchestra and it definitely provides plenty of variation with elements of the ensemble, as well as the whole orchestra, and a range of powerful intense movements to quieter, contemplative ones with plenty of space left to enhance the sense of mystery or foreboding.

Nearly a half-century later is "Otherworldly Resonances" for a pair of amplified pianos and which is considered the second part of "Zeitgeist," featured in the fourth volume of the series (which this blogger also has).  The first movement's "Double Helix" utilizes an ostinato and ornamentation that suggests the DNA structure, while the following "Celebration and Ritual" explores a range of sounds that include ebullient and dynamic exchanges and what the composer called "mysterious and brooding" elements.  "Palimpsest" features a trio of layered sections moving from "shadowy, ghostly" sounds to  "pale and distant" element and finally what is denoted to be a layer that "projects most clearly and vividly."

The remaining roughly half-hour highlights a major collaborator of Crumb's, the incredible mezzo-soprano Jan DeGaetani, who is showcased with her remarkable range of styles with such pieces as "Night of the Four Moons," written after the 1969 moon landing and which includes unusual instrumentation like banjo, electric cello and percussion along with woodwinds, while DeGaetani sings from poems by Crumb's favorite poet, Federico García Lorca (tragically murdered by Franco's Fascist police in Spain in the 1930s).  Also included are 1984's "The Sleeper" based on a poem by Edgar Allan Poe and "Three Early Songs," written by a teenage Crumb for his future wife and utilizing poems from obscure poets Robert Southey (early 19th century) and Sara Teasdale (early 20th century.)  There is a tremendous range of musical and vocalized elements here and provide an excellent bookend to the orchestra work that began this fine retrospective of nearly six decades of a great composer.

DJ Cheb i Sabbah: Krishna Lila

DJ Cheb i Sabbah (born Haim Serge El Baz) (1947-2013) was from Algeria and of Berber and Jewish descent, but his long career involved the melding of many types of sounds from Africa and Asia, most notably from India.  After some years as a DJ in Paris and New York, he settled in San Francisco and adopted the moniker by which he became well-known as well as by his nickname Chebiji.

He made a series of recordings for the Six Degrees label, based in San Francisco, that deeply explored his passion for beat-driven electronics, Indian and north African music, including the excellent Krishna Lila, which has two parts, "The South," and "The North," reflecting the general variations between Carnatic and Hindustani musics in India.  There are no long ragas or other forms and the pieces are shorter for the first part and more extended for the latter with a specific emphasis on bhajan, or devotional and spiritual songs in praise of the Hindu god Krishna.

Sabbah worked with several ensembles of Indian musicians to seamlessly blend the distinctive forms from the northern and southern parts of that vast nation with subtle electronics and, thanks to the ever-present Bill Laswell, some sympathetic bass guitar to create a compelling and mesmerizing musical experience.  The performing is fantastic, the production is excellent, and the album incorporates its disparate elements with nuance and deep respect for its historical classical Indian sources.

Being a DJ, Sabbah puts an emphasis on rhythm and groove, but the electronics and bass are in full support of the classic instrumentation (violin, harmonium and the vina, a sitar-like instrument) and vocals.  Karsh Kale, an Indian who plays traditional percussion as well as a Western-style drum kit, also provides more rhythmic punch, but, again, in service to the music.  Sabbah's approach is a deeply respectful fusion of sounds and Krishna Lila works beautifully because of his commitment to the core of India's traditional classical music with a subtle modern touch.

Myra Melford Extended Ensemble: Even the Sounds Shine

For this International Women's Day, this post highlights the vastly underappreciated pianist and bandleader Myra Melford, whose extended ensemble's recording of Even the Sounds Shine, recorded in 1994 and re-released on Hat Hut Records in 2003, is astounding in its compositional complexity, richness and diversity and in the playing by a remarkable quintent, including trumpeter Dave Douglas, alto saxophonist and clarinetist Marty Ehrlich, bassist Lindsey Horner and drummer Reggie Nicholson.

The title is taken fom a poem by Fernando Pessoa and Myford wrote in her liner notes that "I have this habit of collecting seemingly unrelated buts of information: a title, a texture, a melody or phrase, that somehow in my subconscious belong together.  It's through creation that the different elements become juxtaposed or integrated into a whole."  She was in Portugal just prior to recording the album and came across Pessoa's reference to "in broad daylight even the sounds shine," though it went beyond an apt title to some thing that struck Melford "as an idea that expresses music and as an idea that I'd like to express through my music."

She was later in Austria for a music festival and heard a bird singing in such a way that is sounded like a melding of Ornette Coleman and another underappreciated master, violinist Leroy Jenkins, and Melford transcribed what she heard.  She added that the next morning "I awoke to the most beautiful sounds I've ever heard" and that the bird and other animals were singing and making other sounds so that "the texture had a clarity, vitality and gentleness to it that was very moving."

There is an abundance of all three of those attributes on this amazing album and her trio of the time is enriched and diversified by the stunning playing of Douglas (whose work in John Zorn's Masada project has been featured here before) and Ehrlich (who has also been mentioned through his association with the great Julius Hemphill.) Nicholson, too, has appeared in this blog through the appreciation of two recordings by the sublime Henry Threadgill.  As for Melford, her incredible solo work, reminiscent of Cecil Taylor and Marilyn Crispell, but definitely with her own imprint, and her compositional brilliance, are wonders to behold.

There are few women in jazz who get the credit they deserve and Myra Melford is one of those who should have far more recognition for her achievements.

Wire: 154

From 1977 to 1979, Wire transformed mightily from cheeky art punk rockers to an outfit that found expression in 154 (the number of shows played by the band to date) that featured expanded song structures, electronics and atmospherics, and experiments with producer Mike Thorne in the studio that was, in many ways, a world away from their debut Pink Flag, while a further extension from the follow-up Chairs Missing.  

The quartet of Colin Newman (vocals, guitars), Graham Lewis (vocals, bass), Bruce Gilbert (guitar, vocals), and Robert Gotobed (Grey) on drums delivered an album filled with diversity, quirkiness, drama and tension, and a solid balance of catchy hooks and experimental stylings.  Standouts for this listener include "2 People In A Room." "The 15th," "A Touching Display," "I Should Have Known Better," "Blessed State," "40 Versions," and "Map Ref. 41 [degrees]N, 93 [degrees]W," though the whole original album is strong.

There are a few bonus tracks that can be interesting, especially as a couple hint at what Lewis and Gilbert would do with their fascinating Dome project, which followed after Wire called it a day not long after 154 was released.  Newman's A-Z solo record purported contained much of what would have been the band's fourth album, but that would wait until Wire reformed in the mid-Eighties and significantly retooled their sound.

Then there was the remarkable chaos that was Document and Eyewitness that followed 154 and the title of which reflected the disintegration as it was happening on stage, but we'll see if that appears here at a future date!