Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The JC Sanford Orchestra Rip up the Joint

Barflies at CBGB in 1976 may have reacted to the Ramones the same way the customers at Tea Lounge Monday night reacted to the JC Sanford Orchestra, that is, if laptops had existed the year Johnny Bench put the Yankees out of their misery early in the World Series. Everybody looked up from their keyboards, startled. And pretty much everybody stayed. This unlikely, upscale Park Slope coffee-and-beer joint might or might not end up being to big band jazz what CBGB was to punk, but for now it is the place to see pretty much every good large-scale jazz ensemble in New York that’s not led by a Schneider, a McNeely or the ghost of Mingus. Sanford is its impresario, and this was his group, many of the same cast who’d played so memorably on his Sanford-Schumacher Sound Assembly album from a couple of years ago. Conducting as well as contributing a long, soulful trombone solo on one song, he steered the crew on a mighty swing through a mix of numbers from that album along with plenty of towering, majestic and deceptively playful newer material that often crossed over the line into third stream and soundtrack-style atmospherics. Ceativity leapt from the charts, and the band seized it joyously.

They opened circular and fluttering with Rhythm of the Mind, with solo spots for blippy bass clarinet by Kenny Berger, Ben Kono taking it up warily on clarinet a bit later, the whole band nonchalantly bringing it down for a few bars’ worth of Buddhist chanting like it was the most natural thing for a jazz band in New York to be doing at that particular moment. Chuck and Jinx, a swinging, genial tribute to a man and his cat, saw bassist Aidan Carroll taking a deliberate stroll against Mike Eckroth’s ringing, sparse electric piano, bemused high brass playing the owner (or actually, the owned) while Ted Poor’s drums impersonated the irrepressible, furry creature who, whether or not we admit it, always runs the show. Poor would also elevate the long, shapeshifting Indecent Stretch, a partita of sorts, to magnificent heights, kicking up a storm with the piano and bass, later leading an increasingly agitated crescendo in big, determined steps beneath the rest of the group’s uneasy atmospherics.

An Attempt at Serenity was aptly titled and genuinely tormented in places, Nadje Noordhuis’ trumpet comforting and resolute alternating with guitarist Andrew Green’s vividly twisted, downright evil, bent-note phrasing. Would hope triumph in the end? For awhile it looked like it might, despite distant hints to the contrary that added yet another layer of suspense. It ended quiet, atmospheric and somewhat ambiguously. They wrapped up their first set with a blazing version of Your Word Alone, a big thank-you note to a friend and mentor of Sanford’s who from the sound of things singlehandedly scored him a plum teaching position. The composition gave the band a chance to express considerable humor, especially in the big crescendo that led to the joyous “eureka” moment where the contract (or the check) appears in the mail, violinist Christian Howes (whose latest album with Robben Ford and Eddie Floyd is a treat) ripping casually through an eerie, phantasmagorical solo played through a watery chorus-box effect. Through one tricky false ending after the other, the band quoted liberally from the Mission Impossible theme as individual voices  – notably Kono – appeared and vanished almost in a dub reggae style. The remarkably young audience – many of whom appeared to be high school kids animatedly trading music and doing homework – roared their approval. Hey, big band jazz was the default music of the under-20 crowd seventy years ago. Could happen again.

September 22, 2010 - Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , ,

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