From the beginning of their concert in Spaulding "this calls for the old Billy Baroo" Auditorium on Tuesday night, it was clear that the Bang on a Can All-Stars was a unique musical entity. The six members played instruments that, under normal circumstances, would rarely appear together in a band -- electric guitar, bass, percussion, piano, cello and clarinets.
But this intriguing amalgam suits the All-Stars perfectly -- their music is undeniably unique. Not only does the group present a sound that is distinctive and fresh, but they also execute it perfectly with their exceptional talent.
Over the course of the first-rate performance, the group touched on nearly every musical style, ranging from guitar-heavy hard rock to classical to minimalism.
The first selection, entitled "Exquisite Corpses," introduced the sound of the All-Stars well. The tune began with a seemingly disconnected array of sounds from each instrument that gradually layered upon itself to create a cohesive whole. The inventive use of xylophone and clarinet, combined with the steady bass line, made for an interesting and inviting introduction.
After the initial sequence, the group continued to careen back and forth between a variety of musical styles, tones, rhythms and concepts. This musical unpredictability permeated the entire performance.
The second piece, "Eugene I," provided an even more unorthodox approach. The show was a combination of the band's music and the showing of a silent video of an old television comedy program. Essentially, the music functioned as the soundtrack to the video.
This effectively melded the music with the video as the former narrated the silent film for the audience. A cowbell, a moody cello and a piercing clarinet all provided an added perspective to the vintage television show, which generally consisted of a solitary figure in different settings. Usually mundane activities like reading a book were brought to life by the All-Stars' music.
After the intermission, the band began its third tune, "Escalator," with a languid tone. Then, out of nowhere, the composition unloaded an onslaught of eclectic sounds.
This composition featured a bass strung with piano wire as well as an electric guitar with irregularly placed frets. Also, the music generally featured different sets of repeated notes, the most distinctive of which being the piano-wire-strung bass, which made a severe scratching sound that was constant throughout.
The real musical star of this particular song was the drummer, David Cossin. He adeptly navigated through numerous shifts in rhythm and tone to skillfully function as the backbone of the performance. As the song came to a crescendo, his fierce drumming stood out over the rest of the music.
The final two numbers continued on a similar stylistic path, having many twists and turns that displayed the outstanding musical talents of the six performers. Listening to the songs provided an interesting intellectual challenge -- every time one had figured out a section of a song, there would be a rapid shift to a completely different musical idea.
The fifth song showcased the full extent of each player's creativity. All six had their own solos, during which they showed much aptitude in coaxing every possible sound out of their respective instruments.
One of the more memorable moments occurred when Robert Black, on the double bass, virtually attacked his instruments, hitting it all over its frame and spinning it around like a top. This was merely one example of the unbridled enthusiasm and originality that was present in all six performers throughout the concert.
The evening was an entertaining getaway from the music that saturates radio airwaves to"day. The music of the Bang on a Can All-Stars made the audience think, and it opened a window into the works of some of today's most talented and inventive musicians.
