Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Tim Hagans Turns It Up at Birdland

Last night at Birdland jazz  trumpeter Tim Hagans played an intense, melody-packed cd release show for his latest one, The Moon Is Waiting, just out on Palmetto. Hagans chose his spots expertly: it was rare that he went more than a few bars before either handing over the lead, so to speak, to the other players, or letting the intensity sink in before kicking back in. While Freddie Hubbard at his peak circa Red Clay is an obvious influence, both in terms of tonal clarity and judiciously aggressive attack, Hagans has his own voice, as cerebral as it is tuneful. Alongside him, Vic Juris added a jaw-dropping variety of shades on electric guitar, with Rufus Reid magisterial, purist and occasionally lowdown and slyly funky on bass, drummer Jukkis Uotila propelling the group with one rapidfire cluster after another, and supplying vividly austere, otherworldly piano on one tune as well.

The first three songs on the album are a suite commissioned by a dance project: live in concert, despite their stylistic diversity, the physicality of the pieces translated dramatically. The opening track, Ornette’s Waking Dream of a Woman (title supplied by the head of the dance troupe) was more overtly extroverted, even joyous, than the edgily rhythmic, 70s noir-tinged version on the album. Likewise, the studio version of the title track is essentially a long, enjoyably suspenseful intro without any kind of resolution; live, it became a springboard for energetic, unwinding spirals from Hagans that gave the piece a swinging contrast with the endlessly flurrying, seemingly rubato rumbles of the rhythm section. Then they took it down for a cooly minimalist, soulful Reid solo, moving casually out of the depths to segue elegantly into the album’s third track, Get Outside, a mini-suite that gave Juris a chance to air out his rock side with a wryly crescendoing ascending progression as it wound out, lining up the dancers, metaphorically speaking, for a big blazing finale.

The album version of What I’ll Tell Her Tonight is loaded with subtext; here, it was delivered irony-free, simply a beautiful ballad with Hagans in cool, Miles Davis mode, Juris expertly using his volume knob to vary the tones emerging from the shadows. A briskly shuffling swing tune, First Jazz aptly illustrated a fifteen-year-old Hagans’ transformative moment realizing that trumpet was his calling, adrenalizing riff upon riff, Juris clearing a path with his brightly sustained jump-blues lines. Midway through the show, Hagans expressed an unselfconsciously genuine appreciation for a crowd who’d come out in support of music, and albums, as adventurous as his are. And the crowd gave it back to him. They wanted an encore, but didn’t get one: Phil Woods was next on the bill, and time was up.

October 21, 2011 - Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , ,

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