Rafi Zabor’s Updoc, Fri 4/24 & Tues 4/28

GidLloydRhiannon Giddens seems to have arrived with the Spring, and now she’s everywhere amid the blasts and blossoms, stunning audience and host alike with her solo rendition of Odetta’s Waterboy on the Letterman show, headlining a country-gospel concert at the White House, profiles on PBS and NPR—seldom have the changing seasons witnessed such a rollout for a first solo album, her Tomorrow is My Turn, produced by T-Bone Burnett for Nonesuch; but in radical contradistinction to a music industry more notable for its industry than its music rolling out ubiquitous armies of promotion for ephemeral crapola, Giddens’ is a voice scaled not only to stun a waiting nation but embrace it, from hillbilly music to classic country to gospel declamation through uncountable gradations from darkest brown to pinkest white: a major talent has arrived, and her Macarthur genius grant will follow next year—you heard it here first, where all Updoc can do, Friday at 8PM and noon next Tuesday, Capital of the World Daylight Savings Time, is build a couple of vocal sets around her music buttresed by new releases from Nellie McKay, Lainie Cooke, Cassandra Wilson and a belated celebration of Billie Holiday’s centenary. And that’s not all, folks: we’ve got two long selections from Charles Lloyd’s celebratory Wild Man’s Dance. More than any other of John Coltrane’s epigones, Lloyd has long been drawn to Coltrane’s higher lyrical flights of the spirit, and while in the past it may have been convenient to think of Lloyd as Coltrane-light, nowadays there are so few players with any audible notion of their notes referring to anything greater than their notes that Lloyd brings not only a sense of meditation and celebration but a feeling of relief.

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