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Tracklist:
1. Aria et Scherzino for Violin, Viola, Cello, Bass and Piano (1909) - Aria 6:37
2. Octet for Strings Op. 7 (1900) - 1st Movement, Tr?s Modnrn 14:51
3. Sonata No. 3 for Violin & Piano Op. 25 (1926) in the Romanian Folk Character - 1st Movement, Malinco 9:07
4. Sonata No. 3 for Violin & Piano Op. 25 (1926) in the Romanian Folk Character - 2nd Movement, Misteri 10:45
5. Orchestral Suite No. 1 Op. 9 (1903) Prnlude ? lunisson 8:55
6. Piano Suite No. 1 Op. 3 (1893) in the Ancient Style - Adagio 7:10
7. Symphony No. 4 (Unfinished) (1934) - 2nd Movement, Marziale 13:57
Personnel:
Lucian Ban - piano
John Hebert - acoustic bass
Ralph Alessi - trumpet
Tony Malaby - tenor saxophone
Mat Maneri - viola
Albrecht Maurer - violin
Gerald Cleaver - drums
Badal Roy - tabla, percussion
Someone ought to do a study about the relationship between homesickness and the creation of musical hybrids. In the case of Romanian pianist Lucian Ban, he’s set his sights on the mournfully handsome compositions of countryman George Enescu (1881–1955), music that was under Ban’s fingers well before his tenure at the New School or his conservatory days in Bucharest. Once here, Ban established himself as a rough-and-tumble practitioner of earthy postbop (check out 2006’s Playground), a career path paralleling that of Enescu, whose time in fin de si?cle Paris transformed him from violin prodigy and sought-after conductor to composer of folksily evocative rhapsodies and internationally renowned educator.
Ban and New Orleans–bred bassist John Hnbert are the arrangers for this evening of the undervalued musician’s works. Some of Enescu’s melodies have the rubato quality of Ornette Coleman’s early unison themes; Ban’s rhythm section is spacey enough to keep the lines atmospherically suspended, hovering like a chopper. Both orchestrators look far afield: Added to a frontline of cornet, reeds and two violins (respectively, Taylor Ho Bynum, Tony Malaby, Joyce Hammann and Mat Maneri), Indian percussionist Badal Roy shifts momentum even farther east. Overall, the chamber-jazz expressionism of, say, Jimmy Giuffre will hold sway, even when drummer Gerald Cleaver kicks the volume level beyond ruminative territory. —K. Leander Williams

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