Your Take: (Still the) King's Noyse

It was overall a very enjoyable concert, even if it was a bit long. I think that Ellen Hargis was the best part of the concert; her voice  was unbelievable! It was also interesting to see some  of the old instruments. I had never seen a lute in person before!

If imitation is the sincerest form of flattery, then the 'cover' is the highest form of musical praise. I went into King's Noyse a little unsure what to expect--a bunch of old white people playing Thelonious Monk on dated instruments? Not exactly a sure-fire hit. Much to my surprise, these players know not only how to breath fresh life into their extinct instruments, but into their diverse course of material, as well. The lutenist was a personal highlight--it's not often that you see the secret (unknown?) 500 year old influences of Leo kottke and Lindsay buckingham in concert--but the whole band excelled, breaking the stereotype of the rigid classical musician as they danced and swayed through their songs. It wasnt long before I was toetapping--they even turned "a funeral jigg" into the next summer jam! Methinks it  'Twas a memorable evening.

It was a night to remember.  I was inspired and entertained.

This is rich, sophisticated music.  I think that everyone should make renaissance and baroque music a part of their music library.  This music influences contemporary artists.

It's great to go "back to the source," and hear this music in its purest form.

This is definitely the most joyful concert I've seen in recent years. The flow of the music is unparalleled.

I really like the sound by these early instruments, which is often softer and mellower but has a naturalness to it. I'm also pretty impressed by the vivid depiction of the battel by the ensemble. They made it seems like there is nothing a string ensemble couldnt' do.

I sometimes wonder what it would sound like if we substitute the lute with a harpsichord, because it seems that O'Dette does have to make an effort to keep the volume up from time to time, to balance the strings. Have they ever done that?

I don't want to sound too negative, but I was irritated by the constant tuning.  It seemed like Mealy tuned his violin after almost every song.

I also felt that O'Dette's virtuosity got in the way of the melody when he played "Michelle" - sometimes the melody was almost indistinct.  This didn't happen on "The Chromatic Fantasie" so perhaps it was merely the arrangement.

On the other hand, Hargis was really good.  She emoted so well and her voice is so well suited to this music.  I find it interesting that these genres (Renaissance, Baroque, Jazz, Blues) require similar voice qualities.