Bryan & the Aardvarks Bring on the Night at Subculture
Bassist Bryan Copeland’s Lynchian nocturnes are one of the most consistently enjoyable things happening in jazz right now. Tuesday night at Subculture’s comfortable, sonically enhanced basement space, Copeland led his group Bryan & the Aardvarks through a lush, glimmering, often poignant set of mostly new material. The keyboard-and-vibraphone pairing of Fabian Almazan (on piano and occasional electronic keys) and Chris Dingman draws some imnediate comparisons to the Claudia Quintet, but Copeland’s music is more cinematic and atmospheric. Drummer Joe Nero nonchalantly livened the band’s usual straight-up tempos, sometimes adding an undulating funkiness, other times weaving in a subtle polyrhythmic edge. Copeland has an intricate sense of harmony to rival Philip Glass, a composer he sometimes resembles, if in a considerably more ornate way.
The evening opened with a wistful, brooding chromatic theme that stubbornly resisted resolution, building tension through a long, methodically glistening Almazan solo, guitarist Jesse Lewis working his way up from spacious early Pat Metheny-style waves of melody to an unexpectedly wild flurry of Dick Dale-style tremolo-picking whose violence could easily have ruined the mood, but with the meteor shower filling the picture behind it, made a raw, rewarding coda.
Midway through the apprehensively hypnotic, chromatically-charged second number, The Sky Turns to Grey (bringing to mind Glass’ creepy In the Summer House), Copeland surprised everyone except his bandmates by beginning a solo in the middle of one of Almazan’s. Except that this bass solo turned out to be catchy, judiciously incisive variations on a guitar riff rather than a free-form excursion into uncharted territory. And when it seemed that Copeland would pass himself off as a rare bassist who limits himself to terse, memorable string motifs, toward the end of the set he surprised with an allusive, unexpectedly carefree solo that mimicked a horn line, something akin to Pharaoh Sanders signifying that it might be time to peel off the suit and knock a few back after a hard night at work.
The singlemindedness of this band is amazing, Dingman’s resonant waves rising and mingling with Almazan’s meticulous blend of energy and precision, towering High Romantic angst shifting in and out of the shadows, a soundtrack for any candy-colored clown who might have been waiting for the chance to pounce from out of the footlights. A dusky pastoral waltz followed a cinematic tangent, like a jazzier Dana Schechter tableau luridly swathed in Angelo Badalamenti velvet; a second waltz came across as a more rustic, gently bittersweet take on Bill Frisell-style blue-sky jazz, an appreciative nod from Copeland to his Texas roots. A later number worked from neon lustre up to agitation over an altered bossa groove. They wound up the night on a long, anthemically vamping swell fueled by Lewis’ uneasily insistent accents. Music this intricate and disarmingly beautiful is seldom played with as much energy as this individualistic group puts into it.
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