Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Charlie Kohlhase’s Explorer’s Club – Adventures

Rigorously cerebral yet imbued with a clever, carefree humor, this is an album that adventurous jazz fans will find as entertaining as it is cutting-edge. Recorded in 2007, it’s been out for awhile but since it just came over the transom here (thanks guys!) it made sense to give it a spin and, voila, it struck a nerve. Like his mentor Roswell Rudd, saxophonist Charlie Kohlhase pushes the envelope. The septet’s main shtick is that they have two drummers, Miki Matsuki and Chris Punis (whose mightily intelligent, straightforward playing anchors Gypsy Schaeffer’s excellent new cd, just reviewed here). Here, drums as often as not serve as a tonal rather than a rhythmic instrument, rhythm being passed around between Kohlhase’s and Matt Langley’s saxes, Jeff Galindo’s trombone, Eric Hofbauer’s guitar or to Jef Charland’s tastefully tuneful, understated bass. This is a concept album of sorts, playfully riffing on several comic book superhero themes. Superhero Beatdown starts out with starkly strummed guitar and multiple horn conversations, building up to the point where total bedlam ensues: the hero in question no doubt ends up in the emergency room. Then there’s Utensor, out to save the world with ovesize kitchen implements, moving from a satirical opening to a dialogue between logical bass and peeved tenor, the rest of the band eventually joining the argument as the drums rumble ominously underneath: could that be someone doing the dishes?

 

The Alarm Clock Is My Only Kryptonite will resonate wryly with anyone dreading the dawn of a workday, the pain of waking up vividly illustrated in five alternately tortuous and amusing minutes, trombone taking a completely ridiculous, laugh-out-loud funny muted solo over the band’s woozy atmospherics. The amusingly titled Thryllkyll on the Schuyllkyll kicks off with a faux detective theme, baritone sax climbing to a repetitive, Coltrane-esque riff eventually passed to the guitar while the band encircles it ever more tightly. There are also a couple of John Tchicai compositions written specifically for a two-drummer ensemble, the first a diverse exercise in call-and-response dialogues, the second featuring some mighty, somewhat martial ensemble work from the two drummers. The two most accessible cuts here are a tongue-in-cheek stab at a ballad by Charland and the strikingly straightforward James Brown homage that winds up the album. If you’re interested in where jazz is going, or where it’s going to be in ten years, this is for you, as well as for more mainstream listeners looking to broaden their sonic horizons. Don’t let the phrase “post-bop” scare you away – this stuff is fun. All the players here maintain active live schedules, watch this space for New York dates.

April 12, 2009 - Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , ,

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