Nuevo Chamber

Founded in 2008 as part of Classical Revolution’s weekly casual readings, the quintet recently completed a successful Kickstarter run, raising over $4,000 for their debut CD.  On Friday, the group performed selections from the recording at The Collins Theater by San Francisco’s Catholic Cathedral Center. The CD is called “Nuevo Chamber” with the Spanish word for “new” standing for the Argentinian dance language, and “chamber” representing the musicians’ training in classical chamber music.

The fact that all of the players’ parts are written down gives the music that classical edge, allowing for coordinated bursts of virtuosity and complexity.  Within that, there was also room for improvisation.  The attitude, body language, stage manners were also different from the traditional classical aesthetic-- a lot more casual here.

Jacobsen’s compositions are edgy and innovative, reminiscent of Astor Piazzola.  The strong rhythmic backbone of Tango and Latin Jazz is still there, but it is not as dominant as it usually is-- strings outnumbered percussionists 7:2.  Instead of blaring cowbell rhythms, we get a sly groove usually introduced in the cello, commented upon with outbursts in the violins.  A sinuous melody usually slides into the mix, often in the viola or high register in the bass, and eventually in the high violin range as well.  Piazzola-esque effects are found in abundance: string instruments as percussive surfaces, playing behind or on the bridge, and freely-sliding glissandi.

The Quintet were joined by guest instrumentalists Adam Scow and Matt Szemela on violins, Jaz Sawyer on Congas, Edgardo Cambon on cajon and other percussion.  Urban grandmother figure “Avotjca” narrated her poetry in English and Spanish superimposed on Jacobsen’s Ombliagao en Argentina. With live playing alongside synthesized loops, it was a highlight of the concert.  She ambled on stage assisted by an elaborate cane-- nay, a staff, plopped down on a chair on stage as if it was a living room sofa, and proceeded to praise the musicians.  After the ensemble laid down the groove, she came in with her poetry about “dancing navel to navel;” words that are rough and sensual.  This grandma-hip-hop was effective.  It would have been nice to have the words printed in the program.

Another outstanding guest was Szemela-- a superb violin improviser with dazzling technique and imagination reminiscent of Jean-Luc Ponty.  Hailing from Maine and new in San Francisco, he shredded on his solos.

The quintet had a well-balanced amplified sound on most numbers, but in the free-for-all’s with all the guests, the sound spectrum got crowded.  Violins that normally sound rich and dark sounded tinny and screeching-bright on some of the numbers.  When performers plug in, they are at the mercy of the “sound guy.” No matter how well they play, if the engineer at the mixing table doesn’t have an musical ear the sound can be ruined.  Microphones and speakers may have also been the problem.  They would have been better off going acoustic-- the Collins Theater is not that big.

In an adorable touch, Jacobsen’s little son joined the group and with an under-sized cello that was smaller than he is.  The kid seemed comfortable on stage as only the son of a long-haired bass playing composer could be.  He bowed a little, stared mouth agape at the soloists towering above him, ran off stage to his mother, leaving his bow on the floor, and came back to play a little more.  So cute!

Nuevo Chamber is the first release on the Classical Revolution Records label.  Classical Revolution celebrated 5 years of existence this month with a slew of exciting concerts all over the bay area.  The next event is Saturday Nov 26 at 8pm: Squid Inc String Quartet plays at the Red Poppy Art House.

 

Still going strong and expanding all over the world, the "Classical Rev” has also recently cooperated with the Occupy movement, playing in their music festival on 11/11/11.  What role will music play in a revolutionized world? Comment with your answers below.