Here's something you might be interested in.
Photo by TOM HARTEN
Born in Russia, now living in NYC, Misha Piatigorsky is a piano virtuoso with an original concept: melding a jazz piano trio with a string-quartet, playing music that reflects his geographic roots with large doses of blues and rock tossed in — including massive restructuring of well-known pop tunes. He calls this concept Sketchy Black Dog.
Piatigorsky's partner-in-crime is the decidedly left of center percussionist Chris Wabich, who played a hybrid drum-kit with what looked like knitting needles for sticks. Wabich handles all the odd-meters with élan, and can be effectively quiet or ballistic, when the situation requires it. He sounded like Shelly Manne partying with Keith Moon at Sunny Murray's house, if you get my drift.
Beginning with "Open Window," the rich string writing was arresting from the get-go--lush, dark harmonies that lifted the bandstand. The pianist ruled the dynamic range--traversing from dripping faucet quietude to thunderous clamor--and showing hints of McCoy Tyner and Chick Corea in places.
Wabich drove the band with fire and relentless precision on "Strawberry Fields Forever," buttressing the majestic strings and Piatigorsky's shifting rhythmic accents. Left handed bassist David Enos was a strong force throughout, crafting rubbery vamps with thick, meaty tones.
"Three Tears To Midnight," was a compositional tour-de-force, beginning with sweet string stirrings from the violins of Crystal Alforque, and Lauren Baba, Tom Lea's dark viola and the consistently breathtaking cello of Irina Chrirkova. Episodic, and constantly morphing from one scene to another, Wabich ratcheted up the drama without overpowering the volume.
The highlight, for me, was "Starchy Puppy," where the pianist's left-hand ostinato reminded me of Fats Domino meeting Sun Ra--leading to an ecstatic combination of hammered keys and soaring strings. Wabich completely abandoned the "gentleman-drummer" routine for an explosive solo that sounded like a SWAT team raiding a terrorist lair.
Also extremely enjoyable was "The Immigrant," where Piatigorsky's folk-tune amalgam of oomp-pa rhythms drew alternately verdant bowing and spiky pizzicato from the strings.
Excellent stuff.
Photo by TOM HARTEN
Born in Russia, now living in NYC, Misha Piatigorsky is a piano virtuoso with an original concept: melding a jazz piano trio with a string-quartet, playing music that reflects his geographic roots with large doses of blues and rock tossed in — including massive restructuring of well-known pop tunes. He calls this concept Sketchy Black Dog.
Piatigorsky's partner-in-crime is the decidedly left of center percussionist Chris Wabich, who played a hybrid drum-kit with what looked like knitting needles for sticks. Wabich handles all the odd-meters with élan, and can be effectively quiet or ballistic, when the situation requires it. He sounded like Shelly Manne partying with Keith Moon at Sunny Murray's house, if you get my drift.
Beginning with "Open Window," the rich string writing was arresting from the get-go--lush, dark harmonies that lifted the bandstand. The pianist ruled the dynamic range--traversing from dripping faucet quietude to thunderous clamor--and showing hints of McCoy Tyner and Chick Corea in places.
Wabich drove the band with fire and relentless precision on "Strawberry Fields Forever," buttressing the majestic strings and Piatigorsky's shifting rhythmic accents. Left handed bassist David Enos was a strong force throughout, crafting rubbery vamps with thick, meaty tones.
"Three Tears To Midnight," was a compositional tour-de-force, beginning with sweet string stirrings from the violins of Crystal Alforque, and Lauren Baba, Tom Lea's dark viola and the consistently breathtaking cello of Irina Chrirkova. Episodic, and constantly morphing from one scene to another, Wabich ratcheted up the drama without overpowering the volume.
The highlight, for me, was "Starchy Puppy," where the pianist's left-hand ostinato reminded me of Fats Domino meeting Sun Ra--leading to an ecstatic combination of hammered keys and soaring strings. Wabich completely abandoned the "gentleman-drummer" routine for an explosive solo that sounded like a SWAT team raiding a terrorist lair.
Also extremely enjoyable was "The Immigrant," where Piatigorsky's folk-tune amalgam of oomp-pa rhythms drew alternately verdant bowing and spiky pizzicato from the strings.
Excellent stuff.