The Velocity Duo Entertain With Just Bass and Wordless Vocals
On one level, the Velocity Duo‘s new album Dichotomies – streaming online at singer Lauren Lee’s site – is avant garde to the extreme. On the other, it’s very accessible and irresistibly fun. You’d hardly guess that just vocals and bass (that’s Charley Sabatino on the four-string) could be this entertaining. The duo are playing the album release show tomorrow night, May 6 at 6 PM at the Whynot Jazz Room on Christopher St.; cover is $10, and there’s probably a drink minimum, the venue site isn’t clear on that.
Rare as bass-and-vocal albums are, the obvious recent point of comparison is singer Jen Shyu‘s 2011 masterpiece, Synastry with bassist Mark Dresser. Both that album and this new one have a dramatic flair, but where Shyu goes for pointed sociopolitical commentary and knifes-edge theatrics, Lee goes for mood and ambience with frequent bursts of humor. And where Shyu writes lyrics, Lee sings vocalese, which raises the conversational factor with Sabatino (who is an equal even if he’s not centerstage in this collaboration).
The album title says it all: the three first tracks are Apathy/Desire, Awe/Melancholy, and Disappointment and Joy. Again, as these titles indicate, Lee and Sabatino are working contrasts rather than opposite extremes. Sometimes the two take separate roles, other times working in tandem to bring each emotion or mix of emotions to life. The first track seems to be the former, Lee’s carefree, soul-infused flights and occcasional detours into jazz scatting contrast with Sabatino’s close-to-the-vest, almost claustrophobic minimalism. The second is airy and spacious: Sabatino’s punchy, percussive, incisive lines give these tunes a much-needed drive. The third sets a bittersweet, jazz-tinged Lee against Sabatino’s steady, dancing low-register lines.
Likewise, Elation/Woe pits Lee’s blithe scattting – the album’s most straight-ahead jazz passages – against Sabatino’s somber, rustically bluesy lines…until he goes up the scale and joins the fun. Holiday/Death – what a contrast, huh? – pairs Sabatino’s furtiveness with Lee’s operatically-tinged leaps and bounds. Hunger/Satiety is both the album’s most outside moment and also one of its funnier ones, while on Insecurity and Substance Sabatino once again anchors Lee’s LMAO attention-deficit attack with his gravitas until he too can’t resist getting in on the joke.
Lee’s sarcastic noodling on Narcisissm/Selfless is even funnier – it’s hard to see where if at all a contrast comes in. Skeptical/Naive also goes for laughs, but far more subtly, at least til midway through. Likewise, the bass/vocal tradeoffs in Tranquility/Cacaphony are more low-key. The album winds up with a strange and thought-provoking dichotomy, Uncomfortable/Placid. These short, most likely at least half-improvised vignettes transcend the question of whether or not this is jazz or indie classical or whatever mix of genres it might be: it’s just good, fun music.
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