Doble Mano —REVIEWS
Read All
About Jazz concert review by Kurt Gottschalk
Laura Andel at The Kitchen
Laura Andel works in mostly composed pieces for
large
ensembles and so the opportunities to hear her work are rare. But
following
notable recordings and performances of her SomnabUlisT and In::tension:
over the last few years, her new Doble Mano for nonet was a major
statement
from the young composer. The piece for cornet, clarinet, viola,
bandoneon,
bass, keyboards and two percussionists received its premiere over
performances
at The Kitchen (May 11th- 12th) and demonstrated the light playfulness
of Ennio Morricone, Nino Rota or her fellow Argentinian Astor Piazzolla
(all adventurous composers regardless of their populist fields), but
with
the composer’s own penchant for contrast and relayed statements. Rhythm
and counter-rhythm crossed from instrument to instrument, section to
section,
with a magical business, like choreographed traffic patterns - the
title
of the 45-minute piece, in fact, refers to a two-way street or multiple
directions. Andel made full use of her orchestra, often setting a low
bass
clarinet tone or high bandoneon cry alone in their respective registers
or putting Taylor Ho Bynum’s muted cornet against clanging finger
cymbals.
Carl Maguire was particularly inventive on Fender Rhodes and the
vibraphone
and various Gamelan percussion setups provided a wide array of
shadings.
When the full ensemble was engaged, the multiple counts and patterns
loped
like the inner workings of an overly complicated clock.
Read
an article which includes Doble Mano at the The Brooklyn Rail
"Nuevo Tango Update:
Contemporary
Currents and the Jazz Edge" by Alan Lockwood
TO
ORDER
CD CLICK HERE
Content on this site is protected by copyright.
©1998-2009
All rights reserved. Unauthorized duplication prohibited by applicable
laws.