Time for some live show recaps — saw three last week and will be seeing two more (Yo La Tengo and Massive Attack) this week. The first one is the one I mentioned in the previous entry: Gjallarhorn at the Kennedy Center Millennium Stage. This is a Finnish folk group, although they apparently hail from a small isolated region of Finland where Swedish is actually the primary language. Their music is pretty firmly in the style typified by the Northside label’s group of artists — traditional Nordic folk music (in this case, Finnish, Swedish and Norweigian) arranged for different instruments with a rock influence creeping in at times. Without a doubt the centerpiece of this band is vocalist Jenny Wilhelms, who has a remarkable set of pipes and put them to good use, particularly on the rather adventurous final epic song (sadly I’ve forgotten the title). Otherwise, most notable was the band’s use of a rather absurd-looking large, blocky instrument that I thought was a mutant didgeridoo but turned out to be a sub-contrabass recorder (!!!). The mere fact that such an instrument exists is amusing.
Overall, Gjallarhorn seemed like mostly straight-up rockified folk music with a few interesting twists thrown in. They are listed at ProgArchives (a website in which debate about a band’s “progginess” gets seriously intense) for some reason, but there are definitely more interesting Nordic folk bands out there. Jenny Wilhelms’ vocal performance was worth the trip to the Kennedy Center, though.
The next day was a solo/duo show from Nels Cline and drummer Glenn Kotche, both current members of the almost unbelievably popular indie-rock band Wilco. I had no idea what to expect from this one, but came away pretty delighted. Cline was up to his noise-freakout tricks, playing a dense, intense, and pretty shockingly inaccessible set full of electronic manipulation and looping. I’ve never heard him any noisier than this; maybe a good point of comparison would be the ear-shattering chaos of Immolation/Immersion, the trio album with Cline, Wally Shoup and Chris Corsano. If there were Wilco fans in the audience hoping for a solo guitar rendition of “Heavy Metal Drummer,” well, they probably headed for the doors after about thirty seconds.
I found Kotche’s solo percussion set to be more interesting, actually, and I’m inspired to go check out his solo records. He played a pretty wide variety of things, including a Steve Reich piece and a really awesome composition called “Monkey Chant for Solo Drum Kit,” which ostensibly was a setting of a Hindu epic story with each character represented by a different instrument. Kotche was endlessly creative with timbres, eking all kinds of sounds out of his kit, even revealing for “Monkey Chant” a table covered in small boxes containing… chirping crickets! One of the guys standing near me said, “I’ve officially seen it all now.”
Cline came back onto stage to play a couple final pieces with Kotche as a duo, and these were also pretty great — Cline was no less aggressively avant-garde, but tempered his volume and overall intensity a bit to allow the nuances of Kotche’s playing to shine through. Overall this was one of the best shows I’ve seen this year, up there with the Satoko Fujii/Natsuki Tamura show in terms of both how demanding it was and how enjoyable it ended up being. Too bad I won’t get to see these guys again when Wilco comes into town next month.
Finally, last Saturday I made the trek up to An Die Musik in Baltimore with my girlfriend to see Carl Grubbs do his John Coltrane birthday tribute concert. This was a fun one as well; Grubbs stuck exclusively to Coltrane’s more accessible repertoire, which was too bad, but the playing was tight and energetic and the setting was, as always, fantastic; An Die Musik has become one of my absolute favorite venues. I only recognized “Naima” and “Giant Steps” — ironically the only two pieces that were actually announced — but one of the pieces I thought might have been inspired by “My Favorite Things,” although maybe that was just because Grubbs played soprano on that one (which also happened to be my favorite of the set). They only played for an hour and I felt like they never really stretched out to their limits, especially the drummer, but I had a good time.
I also meant to go see the Ed Palermo Big Band in Baltimore last Thursday, but three nights in a row just got to be too much, and work was interfering anyway. And Forever Einstein played in DC on Saturday, but I decided to go to An Die Musik because I thought my girlfriend would enjoy that more. Oh well, too much live music of interest is a good problem to have, anyway.