THIS SATURDAY, AS part of its current Urban Impressions exhibit, Rice’s Moody Center presents Urban Nights: A Communal Art Experience.
The ambitious Urban Impressions art exhibit explores the relationship we have with our constructed cityscape environments, with works by Houston-based visionaries, Charis Ammon, Tiffany Chung and Rick Lowe. Saturday’s one-night-only, outdoor, multi-site event brings together luminaries of Houston’s jazz, poetry, and culinary scenes to celebrate Houston’s diversity and creativity. It’s an intriguing concept, and offers a welcome counterpoint to the exhibit’s heavier themes of displacement, urban sprawl, and the physical and spiritual challenges of life in a metropolis.
Representing Houston jazz community at Urban Nights is vibraphonist and composer Jalen Baker, a young, talented musician whose star continues to rise after the release of his critically acclaimed 2021 album, This is Me, This is Us. “I grew up not far from the Rice campus and would attend orchestra and percussion concerts when I was younger,” says Baker. “So it’s really cool to be a part of the event now in my adult years. A full circle moment, for sure!”
Headlining the event is Houston rapper Lil’ Flip, an original member of the legendary Screwed Up Click, which was led by the late, great DJ Screw. The evening’s activities include a food truck rally, a complimentary beer tasting of Japa, an “art beer” created by Nigerian artist Emeka Ogboh, a video installation by Sindhu Thirumalaisamy, and site-specific performances by the Texas Poet Laureate Lupe Mendez and the hip-hop collective Breakfree Worldwide.
On pathways throughout the event’s multiple sites, visitors can enjoy a variety of outdoor sculptures, installations, and murals by artists Beverly Pepper, Rana Begum, Royal Sumikat, Hedwige Jacobs, and Robert Hodge. Throughout the evening, guests can take time out to explore the Moody building and contemplate the Urban Impressions exhibit on their own.
Jalen Baker
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ON SUNDAY AT at the Holocaust Museum Houston, Axiom Quartet presents “The Complexity of Simplicity.” The program consists of emotional, virtuosic string quartets by Polish-born, late 19th/early 20th century composers Mieczysław Weinberg and Karol Szymanowski and living composer Mark Nowakowski.
Sponsored by the Consulate General of Poland, the carefully curated concert celebrates the country’s folk traditions, as well as the music of the late romantics, Shostakovich (who was a friend of Weinberg), and the French impressionists. “It’s outstanding music,” says Axiom Quartet cellist Patrick Moore of the program. “It should be as well-known as Beethoven. People just need to hear it, so they can get to know it.”
Now in its 10th season, the Axiom Quartet consists of founding members Moore and violinist Dominika Dancewicz with new members Maxine Kuo and Katie Carrington on violin and viola respectively. They’re a good-looking, gregarious bunch, and carry themselves with about a little pretention as is possible for four highly trained classical musicians who easily navigate traditional string quartet repertoire (Ravel, Beethoven), the outer limits of the avant-garde, and, on their popular “Jukebox Concert Series” at The Gypsy Poet, the music of such non-classical artists as David Bowie, Toto and Metallica.
The title of this Sunday’s program refers to the surprising depth and complexity that can arise out of humble materials. Before tackling Szymanowski’s “String Quartet No. 2,” one of his most avant-garde compositions, Dancewicz, who is originally from Poland, showed the rest of the group YouTube recordings of the original folk songs that inspired Szymanowski. While the original source material may be “simple,” (Moore prefers to describe the tunes as “efficient,”), it’s deceptively simple, and yields a dizzying range of sonic possibilities and multiple layers of emotional content. The final movement of Weinberg’s “String Quartet No. 5,” a serenade filled with mood swings, evokes the popular dance music of his time, while Nowakowski’s “String Quartet No. 1 (Songs of Forgiveness),” includes echoes of Polish lamentations.
“We strive to make sure voices are heard,” says Moore when asked about Axiom’s dedication to programming contemporary and relatively little-known music, and how often the music of Mozart and Beethoven is programmed on string quartet concerts. “The music of Szymanowski and Weinberg are equally excellent. I feel like that as a society, we would lose a lot if we don’t hear those particular compositional styles.”
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