Steve Lehman, a quietly dazzling saxophonist, is the stylistic progeny of at least two grand masters of modern jazz, Anthony Braxton and Jackie McLean. In a series of powerful albums, he showed a propensity for intense improvisation, the taste of the entanglement of the rhythmic with drums and pianists and a penchant for surrounding them himself with like-minded performers. Mr. Lehman is music must therefore be jazz, right?Later on the arts, the coverage of direct, critical events, extravagance multimedia and much more. Join the discussion.
Not so fast. Mr. Lehman, PhD candidate in composition at Columbia University, is also an ingenious creator of works intimately detailed contemporary classical concert, some show the influence of teachers such as Tristan Murail and Alvin Lucier. A "cannot Flow", had his first a concert of all contemporary International Red fish Tuesday evening, the ICELab of all series.
Unlike many identified jazz artists who continued the formal composition as a distinguished sideline, Mr. Lehman, as Mr. Braxton, proposes a risky but intriguing syncretism. On "Work, processing and flow," an album wonder Mr. Lehman issued in 2009, you have the harmonic analysis sophisticated contemporary classical music heard merged to a rhythmic section killer who played derived jagged electronica, hip-hop beats and post-bop jazz.
That Mr. Lehman reached similar Alchemy in "Unable to Flow," commissioned jointly by all and the Manhattan new music project, was due in part to the unlikely skills of performers. It was a given that these musicians could manage the complex harmonies and unpredictable rhythms; they could improvise with jurisdiction and make oblique figures swing was a small miracle.
"Prologue," for byte, coupled with the flute clarinet and cor with trombone, iridescent tandems coiled and writhed on piano rhythms to and harmonic of thick washes of rattlesnakes (antique cymbals) and the tam-tams. ". Down and if flowing in the waves, the music ends with an obsessively repeated figure, as if a phonograph needle was blocked in a Groove. In "Baltimore, Berlin," a review of a quintet 2008 stark, spacious, Joshua Rubin clarinettist and trombonist Tim Albright warbled and tangue against spice piano gusts, low and battery.
Mr. Lehman took his saxophone for two other sections. "For McCoy Tyner, Tristan Murail, Anthony Braxton, and Alexander Scriabin"open with wheels capped on sopranino saxophone."" Switching to alto Mr. Lehman played tart contemplations, biased on spare accompanying pianist Cory Smythe pitch to the. And in "Epilogue," a solo alto saxophone discreet, Mr. Lehman eloquently show how stimulation, proportion, color and expressive freedom are questions of interest to composers and jazz improvisers modernists alike.
The next concert of ICELab, with Nathan Davis, is the fish red May 31, 158 Bleecker Street, Thompson Street, Greenwich Village; (212) 505-3474, lepoissonrouge.com.