By Marilyn Lester***The air was super-charged at Birdland Theater as violinist Marissa Licata presented Strings On Fire, with a program of eclectic work that dazzled. She wasn’t kidding, either, when she named her show. Licata’s playing is not only fiery but literally full-bodied. She’s an animated virtuoso, with a remarkable choreography of movement whether bowing or with pizzicato. Licata also produced sounds from her instrument with a variety of creative techniques, ending the set with broken strings to prove it.
The opener was a dizzying rendition of “Libertango,” one of the most well-known compositions by Argentinian tango master Astor Piazzolla. Into it Licata and her band poured a high quotient of drama and fuerza. Equally willing to extract any number of 
sounds from his instrument was seasoned trumpeter Jerry Sabatini, who demonstrated, with Licata, that a violin and a trumpet can be best friends. Over most of the set, the two players shared the spotlight, both alternating solos and playing in concert with each other, delivering a gorgeous, harmonic sound. On Compay Segundo’s “Chan Chan” especially, the two produced a lovely duet and playful call-and-response riffs.
But all of this showmanship on Licata’s part would be meaningless without talent, and she clearly has plenty of that. Her musical chops are impeccable. She has 15 years of classical training to prove it, and that she does with intelligent improvisation and a flawless light touch on the strings informing the power-playing. A solo improv from the Red Violin film score and Tchaikovsky’s “Violin Concerto Cadenza” left no question of the mastery of her instrument. In another turn of well-honed skills and masterful playing, a slow-tempo, lush and romantic arrangement of “Unchained Melody” (Alex North, Hy Zaret) featured traditional and superb playing by Sabatini, turning the number into a high point of the set.
For something different, several Bulgarian folk tunes were added to the mix, including traditional pieces “Graovsko” and “Varnenski Tanz.” The odd time signature ⅞, and the absence of piano, plus a steady drum beat (without improvisation) revealed an Eastern flair that was a delightful contrast to the more familiar Western rhythms we commonly hear. Drummer 
Shannon Ford is probably one of the most attentive percussionists yours truly has heard and witnessed. His work throughout the set was amazingly attuned to every genre and style of play. He was as much a joy to watch apply his skills as he was to hear.
For the last segment of the set, Blues icon James Montgomery—a force of nature in himself—joined the troupe, adding his harmonica wizardry to the jazz-based “Chameleon” (Herbie Hancock, Paul Jackson, Harvey Mason, Bennie Maupin). With a decided leave ‘em charged up and wanting more, revved-up jazz funk versions of “Mona” (Bo Diddley) and “Hit the Road Jack” (Percy Mayfield), with vocals by Montgomery, added up to big, big fun.
Throughout, Matt Marcus on piano and Martin Doykin on bass guitar contributed excellent solo turns and rhythmic support. By the conclusion of Strings on Fire, the room was awash with high energy and plenty of joyful smiles. Such a success was a welcome home to a show that was scheduled to play Birdland, and like so many others, was stalled when the world went into pandemic lockdown. Eighteen months later, Marissa Licata and her band finally got to make glorious music happen.
Leave a Reply