50 Shades of Blues in Abu Dhabi

Alivia and the Elite Blues Band kicked off my musical experience of 2015 in the sixth Rooftop Rhythms blues-centric musical venture, "50 Shades of Blues", at the Saadiyat Beach Club's De La Costa bar and lounge in Abu Dhabi. Blues being right up my musical alley, I was happy to find a dedicated local event for this genre (which seems to be even more rare here than jazz).

Alivia's powerful, broad-ranged vocals and engaging showmanship were backed by the Elite Blues Band's drummer Terrence and keyboardist Robert, the latter of whom also took over lead vocals now and then. Songs performed that night on the club's beachfront terrace ranged across blues, soul and R&B genres, beginning with some light, playful numbers like "Voodoo Woman" and "Meet Me With Your Black Drawers On". Later on, Robert showed us how it's done in Hammond mode when "Down Home Blues" came up in the playlist.

In the second set, audience participation began in earnest as Alivia took on a fan request and expertly rendered the Bobby Womack classic "Harry Hippie" -- a song that provided ample opportunities for a microphone pass-around. Closing a fun night of great musical performance with an enthusiastic crowd, the third and final set included popular hits like "I'll Be Around", progressively drawing people onto the dance floor, and pushing the night into the line dancing phase (obliging even bisinistrapedal me to give it a shot).

Math, sociology, and a unified theory by Dr Guillermina Jasso

Can social forces be quantified? According to NYU sociology professor Dr Guillermina Jasso, who discussed just such a question at this NYU Abu Dhabi public lecture, not only can they be quantified, they can even be figured into a mathematical "unified theory"of sociology and social psychology that can be used to make real-world predictions. I found this talk consistently fascinating, not in the least because modeling of social forces is of professional interest to me.

Dr Jasso's introduced the leanings and engines of societies, and their permutations, and went on to talk about her "New Unified Theory" in terms of its constituent social forces: justice, status, and power. I don't have nearly as deep a background in sociology, but her descriptions of how these forces could be measured and their dynamics fitted to familiar mathematical functions seemed quite plausible.

Things got even more interesting when it came down to applications. Dr Jossa's portfolio of validated predictions based on her models was impressive, listing several predictions per slide about how the theory could be applied to model outcomes in matters of war, crime, family, marriage, politics, etc. It might be worth keeping an eye on related developments.

Music Diversity at NYUAD

After a long time, I attended a NYU Abu Dhabi music event tonight. These have always been "different", and this one was, well, no different.

In this special performance, five specialist musicians from very diverse schools and cultures shared the stage: (left to right) American-based Peruvian computer musician Jaime Oliver, Ghanian traditional percussionist Gideon Alorwoyie, Indian traditional instrumental and vocal percussionist Akshay Anantapadmanabhan, British saxophonist Barak Schmool, and French computer-assisted composer/mixer Gérard Assayag. 

Each performed solos -- occasionally leading collaboration acts -- in turn, before a closing performance as an eclectic quintet.

As someone who works with computers, I was fascinated at a technical level by Mr Oliver's setup, which created electronic sounds based on the movements and shapes he made with his hands. Mr Anantapadmanabhan's traditional Indian percussion (top) was also very impressive, especially his vocal percussion.

And being both a jazz fan and a general performing arts fan, I thoroughly enjoyed the moves and chords in Mr School's act (bottom), in which he played saxophone to a backing track while synchronized video slides of him casually dancing to elements of the track were projected overhead.

Whatever the individual tastes for their styles of music, though, I understood, from overheard reviews on the way out, that many fellow attendees thought the final collaborative quintet performance was amazing -- an assessment with which I heartily agreed.

Corals and Crochet at NYUAD

To provide some context to its two-month-long exhibition of "crochet coral", beginning this week, NYU Abu Dhabi is hosting two panel discussions on crochet art, one of which I attended.

Each of the three crochet artists in the panel introduced their very different approaches to crocheting.

Shauna Richardson (left), spoke about her "crochetdermy" of animal forms with dense "skins" of crochet, including some inspired by public figures, and large outdoor projects like the three over-sized lions of Lionheart. As she confirmed, she does them in aggressive poses and natural colors, in order to avoid the toy look.

Toshiko Horiuchi MacAdam's (center) presentation drew many amused reactions from the audience, since her contrasting use of bright colors and playful shapes in huge, heavy-duty, netting-type crochet installations made them popular as jungle gyms for kids (and some adults), as many of her pictures showed. These and some of her less physically interactive works additionally employed interesting use of layering, as well as deliberate anchoring and weighting for dramatic surface contortion.

Finally, Christine Wertheim (right) began her segment with a fascination comparison of crochet to the ferrite core memory boards used in computers nearly half a century ago, pointing out that contemporary women's handicraft skills made them naturals when it came to weaving core memory boards, and supporting her opening statement that "crochet is a digital technology". She is also a co-founder of the Institute for Figuring and its Crochet Coral Reef project, assembling brightly colored, organic-looking hyperbolic crochet surfaces that bunch up into forms that resemble corals. She described how the artists' allowing variation in the crochet "formula" resulted in diversity akin to that found in nature due to genetic mutations, and how they preserved their plastic waste for years to weave them into the project's "toxic reefs".

After the event, I had a look around the reef exhibition. You had to go up close to see the use of various waste materials -- such as plastic piping, cable ties, and bags -- among the brightly-colored yarn coral bunches, balls and stalks, and even some full-blown crochet marine fauna. There was much variation in size and shape as well, and some also included beads and other effects. A beautiful exhibition, and worth checking out on the Saadiyat campus before it closes on December 4th.

Emirates Jazz Collective plays at Saadiyat beach

Finding out, with barely a day's notice, that Monte Carlo Beach Club Abu Dhabi has a jazz night on the first Wednesday of every month fortunately coincided with a planned overnight stay in the city. That pretty much set the night's plans in stone.

The club, located near the northern tip of Saadiyat Island, hosts the jazz night at the Sea Lounge, on an outdoor stage that has the beach itself as a backdrop. While the weather's still pleasant, the outdoor portion is much preferable to the indoor seating. The selection of beers and spirits is good, but the wines (at least the white wines) left much to be desired. It's a good idea to book in advance, especially for the outdoor seats -- the place was quite busy when we got there.

More luck: it turned out to be a surprise opportunity to attend a performance by UAE-based jazz band, the Emirates Jazz Collective. That night's quartet configuration of the band, comprised of bassist Lakshmi Ramirez, saxophonist Artur Grigoryan, pianist Artie Poghosyan and drummer Douglas Caskie, played mainly upbeat, swinging jazz tunes, lending the place a very lively mood for the night, with some even taking to the dance floor. The artists for jazz night are booked ad hoc, so they may not necessarily play there next jazz night; given their performance that night, though, I certainly hope they do.