Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Eclectic, Purposeful Trombonist Plays a Subterranean Album Release Show this Wednesday

You want instant cred? Get recruited by Anat Cohen to play in her Tentet. That’s the deal with trombonist Nick Finzer, who’s playing the album release for his new one, No Arrival this Wednesday, May 23 at 8 PM at Subculture, 45 Bleecker just east of Lafayette, downstairs from the Culture Project Theatre. Advance tix, available at the box office, are $20.

Most of the new record – streaming at Posi-Tone Records – is originals. To Finzer’s credit, this isn’t a full-throttle situation: he mixes up tempos and styles, and for a guy with his vaunted technique (check his youtube masterclass channel), he doesn’t waste notes. On the opening number, Rinse And Repeat, Finzer’s sextet work an insistent, understated cha-cha groove, Alex Wintz’s guitar and Victor Gould’s piano throwing answers to the bandleader’s ongoing quest of a solo, saxophonist Lucas Pino following, completely tongue-in-cheek, Jon Irabagon style.

The blithe New Orleans stroll that introduces Never Enough offers no hint of the welcome haphazard direction it’s going to go in…or Pino’s nifty bass clarinet solo. Always fun to take chances, right?

Likewise, the first of the covers, Leonard Bernstein’s Maria theme from West Side Story, understates the latin flavor, dancing along on the pulse of Dave Baron’s bass and Jimmy Macbride’s drums, the bandleader’s balmy solo front and center. They revert to similarly subtle latin syncopations a little later with George Gershwin’s Soon.

Tomorrow Next Year – Finzer’s “we’re gonna get through this somehow” response to the fateful 2016 Presidential election – is a bustling, vampy urban tableau, Finzer and Pino having fun with a famous Albert King riff. The band build momentum out of a pensive, searching tone poem of sorts in the album’s title track – the momentary pairing of Macbride’s cymbal bells and Wintz’s belltone chords is a cool touch.

Chugging sixteenth-note volleys from Finzer and Pino, and a tightly clustering Gould solo propel Pyramid, from Duke Ellington’s Ellington Far East Suite, while expansive solos from Finzer and Wintz elevate Only This, Only Now from existential gloom. The album closes with two covers: a mighty, churning reinvention of Prince’s The Greatest Romance Ever Sold, and Strayhorn’s A Flower Is A Lovesome Thing, a showcase for Finzer’s wry, Wycliffe-esque finesse with a mute. It’s an impressive effort from a highly sought-after player whose best days are probably still ahead of him.

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May 19, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Michael Feinberg’s New Album Employs Many Hands

The press release for jazz bassist Michael Feinberg’s new album With Many Hands calls it “unfettered by the canonical notions of tradition.” In other words, iconoclastic, which ought to make it right up our alley. To put an end to the suspense right off the bat, it isn’t particularly iconocolastic music, unless you define jazz as abstruse and inaccessible, and by that standard it’s extremely iconoclastic. This is an album of ideas, some of them “why didn’t I think of that?” ideas, which to be completely truthful, sometimes you have to wait for. But they’re worth it most of the time. Feinberg has an excellent band behind him – tenor saxophonist Noah Preminger, altoist Godwin Louis, Alex Wintz on electric guitar, Julian Shore on piano and Dan Platzman on drums. They explore ballads, modalities, cleverly overlapping solos and circular themes, which are all the rage in the indie classical world: it would be nice to know they learned that from Fela, although a more cynical assumption would be that they got it from Vampire Weekend instead.

The title track, a ballad, opens the album and takes awhile to get going, but when the saxes shift it from balmy to wistful and wary, that makes it all worthwhile. Temple Tales, by Platzman, introduces the first of the circular numbers, and an artfully arranged, steady series of solos that finally wind up with a grin as Louis leads the reeds in on Shore’s heels, rejoicing. Another circular number, a Feinberg co-write, lets the bass run the hook but not before a genuinely suspenseful solo that serves as a springboard for some judicious crescendoing from Shore. By the standards of heavy metal, the next track, The Hard Stuff, is awesome; jazzwise, you can see it coming a mile away, yet Feinberg’s booming modal chords are impossible to resist. When Wintz takes a solo that you can also see coming a mile away, it’s like watching a roller coaster from the top of the first loop: when you reach the first turn, you’ve been expecting it, but it’s still fun to feel those g-forces.

It would be nice if the “where did the summer go” wistfulness of August went beyond Wintz’ unselfconsciously vivid opening lines, but it doesn’t. Fighting Monsters, a briskly walking swing tune, benefits from aggressive piano work from Shore and Preminger’s boisterous excursions – and a neat outro where the drums switch roles with the piano. The album winds up with another swing number, Feinberg’s catchy, circular bassline half-hidden beneath Platzman’s boisterous rumble and bounce. All this is enough to make Feinberg someone to keep your eye on in the next few years. The entire crew here play the cd release show for this one this Friday the 25th at 7:30 at Smalls.

March 21, 2011 Posted by | jazz, Music, music, concert, review | , , , , , , , , , , , , , , | Leave a comment