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CD REVIEWS for "Music in the Land of Three Faiths"

Early Music America: "Beyond the linguistic delights of this recording are its musical performances...The vocals are offered with energy and with integrity...The instrumentalists, too, demonstrate a fine sense of historical awareness and preparation. An absolute tour de force..."

Early Music Newsletter: "This CD is stunning...Space will not permit the full extent of my rapturous response...I am therefore telling you to rush out and buy this wonderful CD..."

Goldberg Magazine: "I first heard the Ivory Consort a few years ago in a New York concert that featured much of this repertoire. I was impressed by the passion, color and virtuosity that they brought to each selection and much of that is vividly recreated on this recording. The subject matter is music of medieval Andalusia from the golden age before the Reconquista and 1492 Edict of Expulsion. It was a time when Jews, Muslims and Christians lived in harmony, exchanging culture and ideas. The repertoire on the recording is marvelously varied, with selections from the Cantigas de Santa Maria (quite a repertoire staple these days), Hebrew songs, Sephardic songs in Ladino, Arabic call to prayer and the muwassha, a song form with roots in Persia but used by Jews, Christians and Arabs in Andalusia. "The virile vocalism of Gerard Edery and exoticism of Margo Gezairlian Grib, supported by the kaleidoscopic instrumental color of the Ivory Consort, make this a formidable survey. Edery and Grib are a moving duo in Porque Llorax Blanca Nina, a Ladino song with a haunting melody and deeply felt emotion. In many ways the instrumentalists steal the show; the oud playing of George Mgrdichian and vielle of Jay Elfenbein are particular stand-outs. If there is one sequence on this recording that sums up the beauty of the golden age and tragedy of our modern day, it's the Arabic call to prayer that is followed by Ein Keloheinu, a Hebrew prayer. Would that we in the 21st century, an age of suicide vests and jets slamming into office towers, remember the golden age of medieval Spain."

LIVE PERFORMANCE REVIEWS

Indianapolis Early Music Festival - July 27, 2003 - Concert Sold Out

"If you want a seat, you'd better get in there!" So I was told as I bought my ticket, and it proved to be true. I grabbed a seat in the back, one of the few remaining, and the other empties soon filled... Musically and visually, The Ivory Consort gave a dynamic performance. Saz player Gerard Edery often stood to sing, using sweeping hand motions like a preacher. Margo Gezairlian Grib (vielle) also often stood while singing. Actually, "standing" is a tame description; she swayed, twisted, and undulated. Frequently, both Grib and Edery appeared to be on the verge of breaking into full-fledged dance. For that matter, so did more than a few members of the audience. Jay Elfenbein (vihuela d'arco, vielle, rebab) stayed in his chair, but kept his head in motion in the manner of many cellists. Dennis Cinelli (mandora, saz) bobbed in his chair while playing his loud little instrument. In contrast, percussionist Rex Benincasa leaned back casually in his seat, drum cradled in his lap, and oud legend George Mgrdichian sat stock-still, except for his hands.

The music sounded like a blend of various Middle Eastern styles and European Early Music, with a wild, improvisational nature. At least one piece made me think of bebop jazz; in between ensemble renderings of the melody, each member soloed in turn.... Who expected this to be so much fun? As I was walking to the parking lot, I heard two different people make the same statement. "It was hard to sit still." Indeed.

Read the full review