ZigZag Quartet
New York, New York, United States | Established. Jan 01, 2006 | SELF
Music
Press
As Good as Having an Uncle in the Business
by Felicia R. Lee - The New York Times
On a recent frigid Thursday night about 300 people sipped wine, knitted and tapped their feet as they listened to the music of the ZigZag Quartet. The evening was notable for the group’s range — from classical to jazz to Brazilian samba...
For the full article, visit: http://www.nytimes.com/2009/12/18/arts/18free.html?_r=0 - The New York Times
Interview and CD Review - Classical Guitar Magazine
The disc by the ZigZag Quartet (Francisco Roldan, guitar; Alexander Wu, piano; Hilliard Greene, double bass; and Danny Mallon, percussion) is often a delight. It is sort of a composed jazz - jazz chamber music if you will - that shows a high degree of musical cohesion among the plavers.The program features an eclectic mix (hence the "zig zag'' moniker) of latin, American, and European styles. In the best
cuts such as Gnattali's - Baiao and BenYarmolinsky's - New York Minutes there are beautifully dovetailed solos by guitar and piano, very solid work on the bass and excellent percussion. - Soundboard CD Review by Al Kunze
Dr. Roberta E. Zlokower
I was fortunate to be introduced to this Quartet of virtuosic musicians, each with a unique style and professional background, and all of whom come together to blend their instrumental melodies and rhythms for music that spans three centuries, from Baroque to Latin, to Jazz, to World Music, to Premieres. The two Gnattali Brazilian works were sultry and scintillating, including, in the first, sophisticated guitar enhancements. The second, a true Samba, was taken over with a tight piano-guitar conversation. The Quartet showed mastery of this South of the Border genre. The Boccherini was transcribed by Julian Bream, a renowned classical guitarist, and included Danny Mallon on castanets. The bass sat out this piece, and Alexander Wu’s piano arrangements were a cross of Bach and Flamenco. Francisco Roldán took the melodic lead, with castanets and piano as engaging accompaniment.
It should be mentioned that Danny Mallon, percussionist, wore instruments tied to his feet (and used pedals for extra percussive options, as his hands were occupied with the larger percussive instruments). Danny wrote to me that “I was playing Joropo maracas, Castanets, Arabic tambourine, North African Tar, Bodhran, jazz brushes, shakers and wood block, cowbell and shaker with my feet”. The first Venezuelan Lauro piece had Mallon hopping in dance rhythm with his castanets in full force. Roldán added a contagious rhythm, as the three Lauro works were solely for guitar and percussion. Again, the second Lauro piece required all that Mallon had strapped to his feet, cowbell as well. The third Lauro piece began with the castanets, while one foot worked the wood block and shaker. Roldán’s guitar kept the music driven.
Piazzolla’s works have been often reviewed in this magazine, as his Nuevo Tangos are searing and magnetic. Hilliard Greene and Alexander Wu took “Kicho” to a furious edge. Greene used his bow with melancholy restraint. Wu and Greene brought out the stark soulfulness of Piazzolla’s genre. Two Piazzolla works were combined, as they often are in Tango concerts, but the remaining g two works introduced Mallon’s frame drum. The music was introspective and full of surprises, not a danceable arrangement. An elongated Tango ensued, with Wu’s lengthy piano solo in the mood and moment. After intermission, a recent work by Yarmolinsky (who was in the audience) had just been re-arranged for the full Quartet. Mallon used his feet for steady rhythms, while Greene took created a slow background effect. However, this work was originally a guitar-piano duo, and those two instruments carried the theme.
Danny Mallon’s own composition, “Samarkand” was a solo for his frame drum. Mallon wrote to me, “My solo “Samarkand” was on Tar, a north African drum that comes from a family of frame drums that developed around 3500 BC. The overtone singing was a style of throat singing that developed in central Asia. I sing a drone and the notes of the overtone series simultaneously”. Mallon’s throaty drone was ethereal and unique. He told the audience that the red circle on his drum was the “circle of life”, and his chants were accompanied by his Tar frame drum. It should also be mentioned that the musicians generously spoke to their audience throughout the program.
Claude Bolling’s four movement Concerto included the full Quartet. Each movement showcased a separate instrument. The first movement seemed to showcase the percussion, with a buoyant beat, while the second showcased the piano, in strikingly dramatic and rapid refrains, allowing for deliberate pauses. The Quartet joined in seamlessly here, with Mallon using brushes on his frame drum. The third movement, infused with an Afro-Caribbean dance rhythm, showcased Roldán’s dynamic guitar. The Finale featured Greene’s echoing bass solos that synthesized the melody’s message. Kudos to ZigZag Quartet. - Dr. Roberta E. Zlokower
This 5-star review to the supremely entertaining ZigZag Quartet.
Specifically, the whole program was just ravishing. The alternation of zesty, toe-tapping compositions like the Fandango, with pensive and beautiful pieces like the Landestoy compositions, was brilliant. Their exuberant audience couldn't refrain from applauding between movements.
The balance was just perfect, and usually, I would sit farther back, but I didn't want to miss seeing any of the action. That Danny alone, with his percussive feet, is a one-man band. Hilliard's melancholy bass was divine. And Francisco's exquisitely sensitive guitar melodies were the highlight of the afternoon.
The four stage personalities are friendly and engaging. It was fun watching them listen to each other. I liked what the guitarist and the awesome, fleet-fingered pianist Alexander had to say about the music and its context. Moreover, it's inspiring to hear four soloists collaborate with such cohesive results.
One more thing was the element of suspense: the timing and unpredictable moods that they conveyed sprinkled spice over a keenly flavored musical repast. They really deserve to play at the White House; I bet the Obamas would enjoy ZigZag as much as we did.
Five-star CONGRATULATIONS to you and your first-class quartet! - Lilian Duval
Bio
“The disc by the ZigZag Quartet is a composed jazz - jazz chamber music that shows a high degree of musical cohesion among the players.”Al Kunze, Soundboard Review
"I enjoyed very much the performance of the ZigZag Quartet, their originality and their musicianship"Mark Peskanov, Bargemusic Artistic Director
"I admire their musicianship..."Michael Lawrence, Director of Chamber Music Society at Lincoln Center
“[N]otable for the group’s range--from classical to jazz to Brazilian samba…”The New York Times
About ZigZag Quartet
This unique ensemble, formed in 2006, with members Francisco Roldán (guitar), Alexander A. Wu (piano), Hilliard Greene (double bass) and Danny Mallon (percussion) zigzags through countries, time periods and dance styles: from flamenco, early bossa novas, modern Argentine tangos and Caribbean dances to the jazz classics, world traditions and commissioned works written for the quartet. In addition, a mix of solos, duos and trios showcase the artistry of each instrumentalist. In December 2009, the ZigZag Quartet made its Lincoln Center debut in the new David Rubenstein Atrium. The quartet received accolades for its attractive acoustic blend, versatility and visually entertaining performance.
ZigZag Quartet has performed extensively, including concerts at Walter Reade Theater, Stanley Kaplan Penthouse and the Bruno Walter Auditorium at Lincoln Center, Mannes College Guitar Festival, New Jersey City University, Bargemusic, Bryant Park, Trinity Church in Wall Street, Saint Peter's Church in the Citigroup Center, Barnes & Noble at Lincoln Square for their CD signing and dozens of performances at community libraries, museums, churches and educational institutions.
ZigZag Quartet's immediate appeal and success has caught the attention of Lincoln Center and consequently the group performed a series of six concerts with dancers as part of the, 'Meet the Artists' 2010-2011 at Lincoln Center's public school educational outreach program. ZigZag Quartet’s self-titled CD was launched in summer 2010 at the Mannes College of Music Auditorium and at Bargemusic's Jazz and more' series. Some concert engagements for 2012 include performances at Winterfest Jazz on the Vine and Hofstra University in Long Island, NY and the Puffin Gallery Foundation in Teaneck, New Jersey. The quartet is constantly expanding its repertoire, with more original music by contemporary composers, and in March ZigZag will premiere five new works written and commissioned for the group by composers in residence 'Music under Construction' at the Mannes College of Music-The New School. In parallel, the group is working on new recordings.
About the Artists
Colombian-born guitarist Francisco Roldán has performed in Russia, Argentina, Spain, Colombia, Paraguay and throughout the United States. He has four recordings, all of which are available and can be heard at cdbaby.com. His last release, Interweaving, with soprano Gretchen Farrar, was this fall. Francisco is currently on the faculty of the Mannes College of Music Extension and Preparatory Divisions and at Lehman College, City University of New York.
Pianist and Yamaha Performing Artist Alexander Wu performs in Asia, Europe, South America and the U.S. as both a soloist and chamber player. Recently he has performed at Carnegie Hall, Lincoln Center, Merkin Concert Hall and the Smithsonian American Art Museum. Alexander released his debut solo CD, Rhythm Road across the Americas at Barnes & Noble and launched his CD at Lincoln Center. He will perform music from it in select cities in the U.S. Alexander has served on the faculty at the City College at C.U.N.Y.
Bassist Hilliard Greene has been performing music for more than 30 years and has been playing professionally over twenty. He studied at the University of Northern Iowa and Berklee College of Music. Hill performed and recorded with Jimmy Scott, serving as his Musical Director and with Cecil Taylor, where he was Concert Master for his group “Phtongos”. He is currently a full-time faculty member at the Bass Collective in New York City.
Percussionist Danny Mallon was inspired to play drums when he saw the Beatles perform on the Ed Sullivan show. Since then this passion has taken him around the world, playing many styles of music. He has travelled each year since 2010 as a musical ambassador for the U.S. Dept. of State, bringing American music around the world, including this summer in Belarus. He can be heard on numerous recordings, soundtracks, radio and TV spots. He has recently performed with the symphony orchestras of Moscow, St. Louis, San Diego, New Jersey, Phoenix, Forth Worth, Winnipeg, Calgary and Spokane.
Band Members
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