E.J.
Thomas Hall
March
14
Cleveland
Museum of Art
March
15
Yo-Yo Ma anchors a meeting of East and West. |
For
all the amenities that northeast Ohio offers, it can be an achingly
provincial place. So the trade winds that blew through this past
weekend were a welcome change, bringing an invigorating infusion of
international sounds.
Nearly
3,000 people jammed E.J. Thomas Hall in Akron on Thursday night to
hear Yo-Yo Ma’s Silk Road Ensemble, a traveling caravan that serves
up a spicy mix of players and music from the legendary trade route.
The program reached from Japan to Western Europe, giving the audience
a chance to see exotic instruments like the tabla (Indian drum),
sheng (Chinese mouth organ), kamancheh (Persian spike fiddle),
shakuhachi (Japanese flute), pipa (Chinese lute) and gaita (Galician
bagpipe).
Many
of the musicians playing those instruments are headliners in their
own right. The 15-member lineup in the current touring version of the
Ensemble includes Kayhan Kalhor, a virtuoso kamancheh player; Sandeep
Das, an internationally recognized tabla master; Brooklyn Rider
violinist Colin Jacobsen; and the amazing Cristina Pato, a
classically trained pianist who doubles on the gaita, which she
handles like a rock star. Yo-Yo Ma has not only the genius to
assemble groups of this caliber, but the generosity to stay in the
background during their performances, giving other stars a chance to
shine (he introduced himself to the audience as “the other cellist”
in the group).
The
concert opened with Side In Side Out, a warmup piece that
gives the band a chance to do what it does best: set a groove, then
work it as background for soloists. Kojiro Umezaki (on shakuhachi)
and Yang Wei (on pipa) offered a fine duet, carefully nuanced and
uncommonly detailed. Atashgah was like a sonic trip to another
world, featuring an evocative interplay of Eastern and Western
strings and a haunting solo by Kalhor. A suite of Roma (gypsy) songs
was less successful, almost too erudite for its own good –
well-informed and smartly played, but lacking the fervor that
characterizes authentic Romani music.
Pato and gaita. |
The
second half opened with Playlist for an Extreme Occasion,
composed for the Ensemble by jazz pianist Vijay Iyer as an extended
jam with rotating solos. Pato was mesmerizing, starting on the piano
and segueing to the gaita to trade some tasty licks with Wei. Umezaki
then narrated the Japanese folk tale Tsuru no Ongaeshi
(Repayment from a Crane), supplemented by musical improvisation on
the shakuhachi, cello and percussion. The closing suite from Book
of Angels by John Zorn was short on the promised melodies but
good clap-along fun, with the ensemble carrying the energy over to a
brief encore with a nifty duet by Kalhor and Das.
The
Silk Road Ensemble is a rare and unlikely combination of elements: a
pop group with the training and depth of a classical orchestra (sans
horns); a big band that plays with the sensitivity of a string
quartet; an esoteric assemblage that makes foreign ideas and sounds
accessible to a mainstream audience. And unlike other supergroups,
this one makes an effort to establish a rapport with its audience,
which responded with a standing ovation. International flavors never
went down so easy.
Memo
to Yo-Yo Ma: The next musician you should recruit for the Ensemble is
Iraqi oud player Naseer Shamma, who gave a dazzling performance at
the Cleveland Museum of Art on Friday night. This is the first
opportunity American audiences have had to see Shamma in more than a
decade, as he suspending touring in the U.S. during the invasion and
occupation of his homeland. It was well worth the wait.
Shamma
appeared with his six-man ensemble Al-Oyoun, which combines Western
instruments (two violins, contrabass) with ancient Arabic
instruments: the qanun, a flat board with strings, akin to a zither;
the nay, a cane flute; and the riqq, a small tambourine with cymbals.
The oud, which looks like a guitar with a bulbous body and bent neck,
is a forerunner of the European lute, sans frets. It typically has
six strings; Shamma sometimes uses eight.
Reinventing Arabic music. |
CMA’s
Massoud Saidpour lauded Shamma’s “extraordinarily fresh, electric
sound” in his introduction, and he was not exaggerating. In
developing what he calls Arab Chamber Music, Shamma has infused
traditional Arabic sounds with Western tempos and techniques, and
reached back to Early Islamic music (roughly 800-1200 AD) for melodic
inspiration. To Western ears, the result is an Arabic base with
layers of progressive jazz, Spanish guitar and an occasional rock
riff.
Shamma
opened with a solo that showcased his signature style: blazing
fingerwork, innovative arrangements, driving rhythms and dramatic
breaks. Over the course of the evening he used standard techniques
like vibrato, and unique approaches like playing one-handed on the
neck. It was a breathtaking display by a musician who not only has
complete command of his instrument, but has expanded its range and
possibilities. In one song, Shamma would weave intricate
atmospherics; in the next, he could have been playing blues slide
guitar.
Most
of the songs followed a standard Western format of establishing a
melody or theme, then filling the midsection with solos and improv
phrases traded between players, giving them a chance to show their
considerable skills. Hany ElBadry got an incredibly rich sound out of
his diminutive nay, at times calling to mind Herbie Mann. Violinists
ElGhandour Hussein and Said Zaki invoked the enchantments of Arabian
Nights, embellished in vivid colors by qanun player Saber
AbdelSattar. Keeping it all moving with a rhythmic bottom were riqq
player Amro Mostafa and bassist Miles Jay (an American who studied in
Egypt).
Shamma
introduced the songs with Arabic titles, drawing applause from a
sizable Mideast contingent in the audience. Afterward, enthusiastic
fans stood in line to meet Shamma, who smiled and graciously posed
for pictures with them. If that spirit colored all Western-Mideastern
relations, the world would be a much better – and better-sounding –
place.
For
more on the Silk Road Ensemble players and instruments:
http://www.silkroadproject.org/
Many
videos of Naseer Shamma are posted on YouTube. Here’s one:
http://www.youtube.com/watch?v=CLsXUWRs014
Silk Road Ensemble photos: Todd Rosenberg/Sony BMG Masterworks
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