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Black Violin review: black & white

At the classical/hip-hop duo's latest Portland shows, the action happened as much in the seats as on the stage

by MARIA CHOBAN

Commotion at the corner of my right eye. People standing in the rows of the concert hall. No, wait. Grey and white haired women pushing to get to the aisle. Eyes follow to…

MOSH PIT!!!

Only a few feet away the aisle is bopping to Telemann-like riffs thumping from Black Violin. Playing the posh Schnitzer concert hall, full of older white classical music appreciators and younger African Americans, the classical violin-meets-hip-hop band returned to Portland to promote their album Stereotypes. And oh boy did the mosh pit break ‘em!

Black Violin performed at Portland’s Arlene Schnitzer Concert Hall. Photo: Kimmie Fadem.

From the stage, violist Wil Baptiste exhorts me to “Put Your Hands Up and Wave Them Like THIS!” His partner, violinist Kev Marcus, nods appreciatively, in rhythm, continuing to plow through noodly passages perfectly in tune. Nat Stokes, Black Violin’s secret weapon on drums, builds a propulsive engaging and LOUD narrative under the flashy strings.

Meanwhile, DJ SPS turned this whole weird juxtaposition between straightahead rock-tight drumming and manic baroque strings into glass, dropping in today’s beats and disembodied vocals. Add columns of colored lights and a fog machine and you’d have to be dead or a snob to not giggle along with the infectious enthusiasm.

Continues…

 
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