Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Plunge Gets Lowdown and Fun

File this under “fun jazz.” A band whose main instruments include trombone, bass and sousaphone leaves a lot of room for comedy, and that’s exactly what New Orleans trio Plunge offer on their psychedelic, entertaining new album Tin Fish Tango. The album title evokes a submarine: the songs manuever deviously more than engaging in any kind of combat. Despite having no drums, the trio of trombonist Mark McGrain, bassist James Singleton and saxophonist Tim Green along with Tom Fitzpatrick on tenor sax and Kirk Joseph on sousaphone maintain a tight groove, and a sensibility that’s often strikingly minimalist. There are a lot of passages here featuring just one instrument, and they’re sort of the opposite of hard bop: each player seems to want to do the most with the least. Since they’re a New Orleans band, the compositions here frequently, but not always, evoke Crescent City style themes. There’s a lot of conversing, some lead-and-pitch, and frequent quotes, from the Skatalites to the Beatles, to raise the amusement factor.

The opening track, a minimalist reggae tune, is a study in divergence and convergence while the bass holds the beat steady, a device that will recur here frequently. The most traditional, and arguably best track here, is Big Bang Theory, which rather than being explosive is a jauntily catchy late 50s Miles Davis style tune: to call this the best song on the album is not to be disrespectful to the cleverness or originality of the other material here, it’s just the most cohesive and memorable cut. The aptly titled Huff-A-Round is a clinic in three-part harmony writing; Pelican Jam, one of several free improvisations here, is done as a sort of suite of miniatures, the band members taking turns introducing themes that sometimes grab hold but just as often disappear from view.

The blithe shuffle Life Lite starts out upbeat and hangs onto the groove even as it drifts off into mellowness after a tastily bright soprano sax solo from Green. He goes off on a Middle Eastern tangent on another reggae-tinged tune, Bright Side and then goes soaring and expansive on The Kroop, over Singleton’s hard-hitting bass chords. There’s also the methodically shifting segments of Love’s Wildest Talent (?!?), the artfully syncopated funk of Jougs and a blues that starts out tense and warms up fast to wind up the album. Their previous album, reviewed last year here, was good: this is even better.

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January 24, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Album of the Day 1/24/11

Every day our 1000 best albums of all time countdown continues, all the way to #1. Before we started that countdown, we had another one, the Best 666 Songs of All Time. You may think that we took yesterday off to watch the football game, but one of us was feverishly at work updating the links in that list (compiled over the span of a couple of years, many of them had gone dead: we’ll have the whole thing completely overhauled in the next day or so). In the meantime, Monday’s album is #736:

Lucky Peterson – Beyond Cool

The rare child prodigy who lived up to early expectations, Lucky Peterson made his debut on album at age six. By sixteen, he’d become Otis Rush’s favorite pianist. He’s also a fiery, virtuosic presence as a lead guitarist, and most recently, as a church organist. In concert, he’ll play all three instruments, often in the same song. His early albums on Rounder are perfectly decent, but his stuff from the 90s onward is absolutely brilliant (with one exception, the Lifetime album, a one-off plunge into contemporary “R&B”). This one from 1993 is characteristic: if he’s new to you, a lot of his stuff is streaming at deezer. This one’s got incisive stuff like I’m Talking To You and You Haven’t Done Nothin, more pensive but equally intense material such as Count on Me, an organ cover of Hendrix’ Up from the Skies, vintage soul-funk like Compared to What, snarling ballads like Pouring Money on a Drowning Love Affair, and the smoldering, seven-minute title track. By they time they reach a cover of Drivin’ Wheel, it’s pretty anticlimactic. The production is purist and pristine – no big-room drum sound, no slick wash of guitar effects, no cheesy synthesizers. Maybe because of all the early attention, we take this guy for granted: he’s truly one of the titans of blues. Here’s a random torrent via barin99.

January 24, 2011 Posted by | blues music, lists, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment