JAZZ STANDARD Cyrus Chestnut Trio "For Your Ears Only"

The Cyrus Chestnut Trio treated the crowd at JAZZ STANDARD to an evening of head swaying, body relaxing cool jazz.  Chestnut balks at being boxed into any constrictive label for his musical style.  However, I will describe last night's set as a vigorous evening of avant-garde & chamber jazz.  Cyrus said after a thrilling piano performance, "This piece was for your ears only.  No one's ever going to hear it this way again because it will never be played this way again."  John Hendricks on double bass, a.k.a. acoustic bass, combined his improvisational tempo & alto tones and Lenny White's  drumming completed the instrumental interplay between the 3 acclaimed artists.  One could claim the accoustic based ensemble as chamber jazz.  Hendricks' bass was notably wider, neck shorter & strings extended  futher out than most bass instruments seen in jazz bands & symphony orchestras.  The double bass tonality resonated with lush vibrations.  JAZZ STANDARD OFFERS an intimate setting allowing the audience to pick out individual qualities each musician contributes to the jazz composition.  Josh Tyrangiel of Time Mag said "What makes Chestnut the best jazz pianist of his generation is a willingness to abandone notes and play space."

Moholy-Nagy: Future Present at the Guggenheim

The Moholy-Nagy exhibit that opened at the Guggenheim on Friday is aptly named "Future Present."  The Hungarian born Moholy-Nagy (b. 1895-1946) was a visionary artists whose works integrate a multitude of mediums & technology reflecting a contemporary, avante garde aesthetic.  It is enigmatic why his name is elusive in the public realm. Moholy-Nagy was a a groundbreaking artist in many venues.  His proclivity for constructural designs and experimentation with light & space predominate many works.  Perhaps, his unrevealed fame is due to his prolific work which crossed over & integrated new techniques, technology & theories regarding traveling through time & space.  There is a kinetic pulse to many of his paintings & sculptures.   A small plexiglass/ meteal sculpture hands from the ocular hovering the lobby's waterpool.  The show ends with numerous models in various sizes constructed of  these materials.  Parrallels in his earlier works can be drawn between Kandinsky & Mondrian's paintings.  Contemporary artists whose works resonate with Moholy-Nagy are James Turrell, Julie Mehretu & William Kentridge.  Moholy-Nagy's works possess a powerful kinetic energy and structural force.  Many works explore the ideas of industrial machinery & intergalactic solar systems.  Some of the shoe's highlights includes many of Moholy-Nagy's "photograms" (images made without use of a camera) & photographs. "The magic possibility of framing space & time is what brought me to photography."  This is a remarkably extensive & exciting exhibit.  The collection owns a prescient authority which originated in the early 20th C.  Moholy-Nagy's ouvre is too overwhelming to confine and there is too much to absorb in a single visit.  On a side note: The bathrooms have been updated to unisex but members' cards aren't scanned to facilitate entrance.    

DAPHNE'S DIVE by Pulitz Playwright Quira Hudes Plunges into Rubbish

Distinguished playwright, Quiara Alegria Hudes received the Pulitizer Prize for Drama ("Water by the Spoonful") and a Tony Award with Lin-Manuel ("In the Height.")  My expectactations for her latest work as resident playwright at Signature Theatre were high.  Unfortunately, "Daphne's Dive" is an overly ambitious political play that stumbles over its lofty goals.  It transforms into a garrulous mess.  Any message Hudes intended becomes muddled amongst its motley patrons in a seedy bar belonging to Daphne.  The cast of camaraderie castoffs who gather to gab include an artist whose makes art from garbage found in dumpsters, an older "Kerouac" biker, Daphne's affluent sister married to a successful entrepeneur and aspiring polititian, Jen, a free spirit, persistent social protestor and Ruby, the young girl who lived above the bar and becomes the adopted daughter to Daphne & beloved by all. The play begins with Ruby (Samira Wiley of "Orange is the new Black") announcing her age "I am 11."  This is the segway used for this 2 hr, 1 act play to move the timeline:  "I am 15," I am 20" and "I am 29."  A police raid causes the tenants above the bar to disperse quickly leaving 11 yr old Ruby to fend for herself.  Ruby hides in the dumpster where she is rescued by the artist.  Daphne fights for & gains custody of Ruby.  The two have a loving relationship & Ruby becomes the integral center amongst the "Cheers" crowd.  However, the focal point of the play is Jen with her multitude of political protests.  The Pandora's box of social issues released included: poverty, alcoholism, incest, sexual orientation, HIV, immigration, feminism, racism, democracy, personal liberties, etc.  The broad schism between   characters, plot & social issues is disruptive to the play.  "Daphne's Dive" is an incomprehensible mess that immolates its intent.  It's disappointing with such a talented playwright & cast this show tanked.  

NYPhilharmonic Play's Holst's The Planets

"The Planets" by Gustav Holst (b. England 1874-1934) is a symphonic cycle that is stellar and always an infintesmal pleasure to hear performed.  The planets, plus or minus Earth & Pluto (undiscovered until 1930) & then  unceremoniously denigrated from prominence, came after Holst's symphony was composed between 1914-16.   Why leave out Earth?  Perhaps, Earth is ground zero & we are free to imagine looking outwards to solar system.  (Okay)  Why are the planets anthropomorphically described by Holst?  Because, he wrote it, he can note it.  But, when listening to this celestial composition, including an offstage chorus of female voices, come to your own conclusions.  Or, simply remain in the dark & enjoy the music for its own grandeur.  It was obvious to me that the 1st movement, "Mars," is combatative and robust.  The various planet movements rotate in a continuous measure, not held in the order of their position from the sun.  "Venus" follows "Mars" and its agreeable, melodic tones are a complacent adjunct to "Mars."   "Mercruy" was performed in a capriccio manner and "Jupiter" was played in a hearty allegro.  I'm not sure where "Uranus" or "Neptune" diverged into their own magical, mystical overtones.   It really doesn't matter.  Holst's classical achievement allots for everyone's own fantasia.  

TURN ME LOOSE-Dick Gregory An Amer Civil Rights Activist and Comic Genius

This potent, fast talking biopic play at the Westside theater starts in the 60's following Dick Gregory (DG) rise to celebrity as a comic genius using racially charged material.  The intimate nightclub setting uses DG's hilarious & courageous truths to confront bigotry.  The clever staging & provocative dialogue showcase DG's prominent role as an Amer civil rights activist & social critic.  He has continuously written & spoken out against social injustices.  He's honed his cutting humor & commentary to battle racism, poverty, inequality, oppression and war.  Joe Morton gives a tour de force performance as the loquacious DG; comic, sage, preacher, warrior & relentless advocate for the oppressed.  Morton seamlessly portrays a young DG doing stand-up in the early 60's & DG most recently as an elder spokesperon addressing audiences on social obligations.  Gregory ask the crowd "How much service did you give to your fellow human being to save the least among us?"  Gregory was raised in segregation, poverty, fear of the KKK & with southern voting restrictions.  Woven into his DG's comedic routines we learn a great deal about his life.  He was kicked in the mouth while shining a white woman's shoe.  He begged the coach to be part of his high school's track team.  Getting a spot on the team did not get him a place with his white teammates in locker rooms or public places.  It did earn him a college scholarship.  In an early auto-bio, DG talks about the runners' stitch; a tightening across the rib cage causing discomfort and difficulty breathing.  From start to finish Gregory's scorching assessments  takes hold like this stitch.  Gregory, a comic genius & civil rights activists bellows at our social conscience.  This is a brilliant theatrical production of historic signfigance which tragically, still maintains systemic, social relevance today.  "The disgrace is having a problem and a country that refuses to solve it." (DG) "Turn me loose," the last words uttered by slain civil rights leader & Gregory's close ally, Medgar Evers.

Linc Ctr Jazz THE RAY CHARLES SONGBOOK Featuring Diane Schuur

Ray Charles (RC) passed away in 2004 at the age of 73.  RC  a.k.a the "Genius" was a piano prodigy whose multi-talents as a songwriter, composer, musician & singer crossed over in rhythm & blues, jazz, soul, country & pop.  His unique, inimitable voice & interpretation have become omnipotent standards leaving the impression he composed the majority of his recording repetoire.  Nonetheless, once RC did played & sang a piece, he owned it.  Last night's jubiliant celebration & tribute to Ray Charles was performed by extremely talented jazz musicians, including 10 former members of RC's jazz band & the original Raelettes.  The Raelettes were given their chance to shine in lead vocals.  Featured Grammy winning vocalist Diane Schuur shared too much chit chat about her cat & RC feeling up her lap.  Her rich tonal vocals & artistry were shaken somewhat by her screeching.  Schuur redeemed herself in her 2nd set with a beautiful rendition of "You Are My Sunshine."  Former RC bandmates, virtuoso trumpeter Kenny Rampton and Bill Sims on guitar & vocals were both extraordinary.  The duet between Sims & a Raelette, "Baby, It's Cold Outside," was one of the highlights of the evening.  The most spectacular & surprising performances of the night came from drummer & vocalist Jamison Ross.  He was remarkable both for his playing & his singing.  At 28, Ross has received multiple Grammy nominations & is a  recipient of the Thelonious Monk Int'l Jazz Award for Drums. Ray Charles' musical legacy is assured and Jamison Ross' contributions to jazz are already promising.                    

LOVE and FRIENDSHIP-an Austen Adaption of Masterful Manipulation

Jane Austen's novel "Lady Susan" has been adapted into a delicisouly diabolical movie of mischievous, yet masterful manipulation in matters of marital pursuits.  The lovely to look and deceptively cunning Lady Susan (played to perfection by Kate Beckinsale) is a widow left with only her sharp tongue which waggles & finagles liaisons with suitors to suit her purposes.  Austen's themes of propriety, social hierarcy & refinement are guised craftily with underlying layers of unscrupulous manuverings.  Austen's heroine Emma was a manipulative matchmaker with her heart in the right place.  Lady Susan' is heartless "diabolical demon" with cunning claws that are swiftly withdrawn.  Dir/screenwriter Whit Stillman has made an unreproachable adaptation of late 18thC Britain's aristocracy & the limited options for women other than a beneficial marriage.  Lady Mary of Dowtown would have met her match with Lady Susan.  Although, my money is on Maggie Smith as the dominant dowager.  LOVE & FRIENDSHIP is a treasure trove of conventions and witticism of this era. "The wealthy can afford to take the high ground."  Lady Susan justifies the means to obtaining the ends.  She is a ruthless, conniving vixen under luscious layers of curls & taffeta.  A bad marriage is one without wealth & with "a husband too old to be governable and too young to die."  Chloe Sevigny plays an American wife of a wealthy Lord.  She is Lady Susan's clandestine confidant to whom Lady Susan reveals her devious plots.  Sevigny is forbidden by her husband to socialize with Lady Susan of her dubious renown or risk banishment back to the States.  Sadly, Sevigny is sorely out of sorts and the sole faux pas in this sumptuous film packed with delectable morsels.

LILYHAMMER Netflix TV Series-It Makes for a Show You Shouldn't Refuse

LILYHAMMER is a joint venture Norwegian/American TV series starring Steven Van Zandt.  The genre is a unique blend of comedy/drama & crime/detective format.  The central character is a likeable, somewhat reformable gangster (Van Zandt.)  The show is a hilarious hybrid of Northern Exposure, Dexter & Sopranos. Van Zandt is a Renaissance man.  He's a musician, songwriter and original member of Springstein's E Street Band.  He's also an accomplished actor starring in LILIHAMMER which he co-wrote & directed in a Norwegian/American colloaboration.  The premise centers around "Johnnie" (Van Zandt) an American mafioso overlooked as head boss.  He testifies against the new head honcho and hightails it out of town to Lilyhammer, Norway under the witness protection program.  Why Lilllyhammer?  Johnnie fell in love with the city during the former Olympics with its natural beauty and female beauties.  Besides,  who would think to find him there of all places?  He's warned before he leaves for Norway with his new identity & clean slate, should he gets into trouble with the local authorities, he's on his own.  The clever comedy comes from a fish out of water scenario.  Johnnie uses his resourceful forceful way of getting things done despite the backwards, slow paced procedures of the local yocals.  The series is filmed in Norway using local actors who are eccentric & credible, disarming & intriguing.  Most beguiling is Van Zandt who wins you over with his "Good Guys" ways of getting things done & doling out justice & affection in various directions.   We root for Van Zandt with his churlish lips as Johnnie and empathize with his softer, sensitive side.  The show 1st aired in 2012 with 3 seasons.  Van Zandt announced the series was cancelled in 2014 but hopeful it will get another shot.  He only needs to make them an offer they can't refuse.

NY Historic Society FOLK ART Collection of Elie & Viola Nadelman

This exhibit will enthrall fans of folk art, antiques from the mid 19thC - early 20thC and "Antique Roadshow" junkies.  I was corrected of my misconception that FOLK ART represents  drawings paintings, household objects and quilts being solely of American origin.  Folk Art is NOT indigineous to Amer.  A major mistaken misnomer (on my part.)  This exhibition features more than 200 sculptures, furniture, figureheads & objects clearly indicating Amer Folk Art is derived from Europe.  Many pieces originated in England, Denmark, Germany and France.  The majority of works aren't identifiable by the artist.  The entire exhibition stems from the personal collection which belonged to the modernist sculpture Elie Nadelman (b. 1882 Warsaw - d. Amer 1946) and his wife Viola.  Nadelman immigrated to the US in 1914. He married heiress/socialite Viola Flannery.  Together they avidly amassed more than 15,000 folk art items.  The vast majority of which the Nadelamans sold to the NY Historic Soc following their financial ruin during the Depression.  Upon entering, you're greeted by 3 life-size wooden trade figure sculptures; an Afr. Amer cigar holder, a female Native Amer Indian & a Highlander.  These pieces are both intriguing and off-putting in their demeaning characterizations.  The gallery resembled an antigue rummage sale.  I was dismissive of most of the flat paintings & miniature figurines.  Still, I found the 2 handwoven quilts exquisite; a wreath & sunburst pattern.  And, I admired the boxes/chests & detailed carved wooden masts.  These items were both elaborate & simple in design.  Two noteworthy paintings depict Washington crossing the Delaware & Lady Liberty.  I was most captivated by noting the influence this collection had on the artist's own modernist classical style sculptures.  The pairing down of Nadelman's shapes & forms correlate beautifully to pieces in the couple's collection.

NY Historic Society: Anti-Semitism 1919-1939

The NY Historic Soc is presenting an exhibition on Anti-Semitism from 1919-1939 in Germany.  The intent is to show the systematic, legislative groundworks that were founded & progressed into the  organized Nazi regime committed to the genocide 6,000,000 Jews.  The original artifacts from this period are disturbing although they are presented in a strictly academic fashion.  The official proclamations, newsprints, signs and paraphanelia pertaining to this period are all in German.  The most startling of all items is an original printing of the Nuremberg Laws that were the milestone on which Hitler built his arsenal of restrictions, laws and extermination orders.  Still, the horrors of the holocaust are mitigated by the reliance on the curation in English above the historic paraphernalia.  The well intentioned exhibit  presents unequivocally, evidence attesting to how the Nazis regime established power.  The relevance of the exhibit is prescient and ubiquitous.  Still, the impact did not resonate as painfully as I had expected. It felt like an antiseptic dissertation on German papers that survived rather than on the millions of people who died as a result.