himalaya

Issue #62

Last Update February 28, 2009

Arts Pictures at an Exhibition (of Himalayan Art) by David Katz October 26, 2007 Chris Byars continues to surprise. A consummate jazz musician with a penchant for Bebop, he communicates better in that idiom than most musicians playing more accessible jazz forms. Whether appearing with his octet, quartet or as part of the Ari Roland jazz trio, Chris' saxophone speaks to all of us. Recently he has been touring Central Asia on behalf of the State Department, bringing our native musical form to Uzbekistan, Turkistan and Khazakstan, and absorbing Central Asian tropes from local musicians. He is also an extremely talented composer. That talent was on display recently at the Ruben Museum of Himalayan Art in New York City.

Byars was commissioned by the museum to compose an evening's music on Tibetan themes as part of the museum's live music series. What resulted was a suite of ten pieces, each one illustrated by a projected Tibetan artwork, and each illustrating a different mood. Most were jazz pieces, but a few were in a lyrical neo-classical mode.

The first piece, "The Better to See You", featured a lengthy trombone solo by John Mosca that displayed the instrumental virtuosity for which he is known. Chris Byars followed on tenor sax, and Ari Roland performed a haunting bowed bass solo.

A second jazz number, "Written on the Wind", followed, a slower piece with a bluesy feeling. The alto sax replaced the tenor, to good effect. "Rahuda", the Worthy One, illustrated by a picture of a sage under a tree in mountains, was highlighted by a powerful Stefan Schatz drum solo.

"Tonpa Shenrab", illustrated by a Tibetan narrative painting, included James Byars on oboe. James (a noted oboist and member of the New York City Ballet orchestra) is Chris' father, and an excellent addition to the group. The combination of alto sax and oboe in a deep and slow melody was effective, with the reediness of the oboe and the diatonic scale in which the melody was written adding an oriental flavor to the number.

Probably the best piece of the evening, "Chakrasamvara", illustrated by a sand painting, had a drum opening, followed by James Byars on english horn doing a haunting, mellow tune, offset by a didgereedoo-like alto sax and wood block rhythms. Flute, oboe and trombone contributed as well. In most respects this was the most oriental of the evening's pieces.

The rest of the suite, "Arhat", "Blues Under the Bhodi Tree", "Just Ask", "Buddha Sakyamuni", and "Whispered Tradition" maintained the quality of the first half of the concert.

Few contemporary composers are as accomplished in a variety of musical styles, as fluent at improvisation, or as adept at performance as Chris Byars. Combined with the ensemble of first-rate musicians he puts together for his concerts, any appearance by Chris Byars is a memorable one.

New York Stringer is published by NYStringer.com. For all communications, contact David Katz, Editor and Publisher, at david@nystringer.com