The Puppeteers Take Harlem by Storm
[republished from Lucid Culture’s sister blog New York Music Daily]
You could call the Puppeteers a latin jazz band, but they’re a lot more than that. Pianist Arturo O’Farrill brings everything he does in the Afro-Latin Jazz Orchestra (who have a phenomenal new album, The Offense of the Drum, coming out): Afro-Cuban grooves, symphonic gravitas and a biting edge that sometimes slinks off into noir. Vibraphonist Bill Ware also brings some of the noir he does so memorably in the Jazz Passengers, but his duels with O’Farrill on the band’s debut album make it one of the most flat-out exciting jazz albums released in the past several months. Thursday night at Ginny’s Supper Club in Harlem, the two were wise to put bassist Alex Blake out front: with his terse but frenetically hammering solos on both bass and bass guitar along with his nonchalantly animated scatting, he was a big hit with the crowd. And he did all that sitting down for practically the whole show. With a fullsize bass, to call that a stretch is no joke, but Blake reached way up for the low notes – surreal, huh? – and made it look effortless.
Drummer Jaime Affoumado played mostly with brushes, deftly shifting from one Spanish Caribbean beat to another and then to straight-up funk from time to time. His purposeful drive kept one of the early numbers from drifting into Mad Men soundtrack territory. During a solo later on, he wryly impersonated a salsa percussion section, first with timbale riffage on the bell of the ride cymbal, then tapping out a bomba beat on the snare.
This gig was more about friendly camaraderie and exploration than megawatt solos. O’Farrill brought an unexpected and very effective wariness to a tempo-shifting, dynamic take of Resolutions, Ware and then Blake maintaining the mood throughout expansive solos. Ware’s jazz waltz Peaceful Moment gave the vibraphonist a chance go to deep into lushly lingering, nocturnal Milt Jackson territory before picking up the pace. Later the band looked back to Coltrane for a take of Soul Eyes that began with a resonant tenderness and then went on a methodical trajectory upward.
On this particular night, the version of Ware’s Bio Diesel was a lot more warmly straight-up and funky than the surrealistically bubbly album track – Ware revealed that he’d written it for his girlfriend, who works in alternative energy. Papo Vasquez’s Not Now Right Now got the night’s most acerbic, hard-hitting crescendos from both O’Farrill and Ware, but the night’s most memorable number, by O’Farrill, was arguably its most pensive one. Opening with a poignant neoromantic glimmer, the pianist then brought his trumpeter son Adam up to contribute an almost minimalistically wired solo, carefully and methodically crafting an uneasy mood that the rest of the band kept close to the vest and never deviated from.
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