Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Tuneful, Purposeful, Unorthodox Jukebox Jazz From Cellist Christopher Hoffman

Christopher Hoffman‘s new Asp Nimbus – streaming at Bandcamp – might well be the first-ever jazz quartet album to feature a lineup of cello, vibraphone, bass and drums. That’s typical of Hoffman, who continues to push the envelope for what an improvising cellist can do. Interestingly, this is an album of jukebox jazz. Most everything here is under the four minute mark, and highly composed, as traditional as this dedicated nontraditionalist will probably ever get. This texturally enticing and often unselfconsciously beautiful album is one of the best of 2021 so far.

The opening number, Discretionary dances in on drummer Craig Weinrib’s fluttery beat and bassist Rashaan Carter’s elastic pulse, the bandleader entering with a bluesy, martially-tinged, thoughtfully spacious solo, then handing off to vibraphonist Bryan Carrott’s soaring, clustering lines.

Dylan George, a dedication to the bandleader’s late brother, is an energetic, ebullient theme spiced with guest David Virelles’ steady, enigmatic piano, Hoffman again choosing his spots, Carrott leading the band down to hazy unease and then back toward a funky sway before a macabre, tinkling outro. Clearly, we lost a forceful presence way too soon.

The album’s title track has moments of ridiculous levity over a lithe quasi-shuffle fueled by a twin bassline: Hoffman’s solo is more tongue-in-cheek. With its brooding klezmer inflections over a contrastingly nimble pulse, Angles of Influence is just plain gorgeous; Carter’s clustering solo raises the temperature several degrees.

The album’s fifth track, Orb, comes across as an interlude from something more expansive, centered around Carrott’s bittersweet gleam as the rhythm section fidgets. Set to a spring-loaded, slow stroll, Non-Submersible seems to allude to both a famous ballad and the Cure, Hoffman slyly shadowing Carter’s scrambling solo, Carrott pushing even further into anthemic territory.

For You comes across as a stormy latin ballad, from a distance, a catchy, acerbic theme that Carrott edges toward balmier territory until the bandleader pulls it back, almost exasperatedly. A slinky implied clave contrasts with the rustling of the strings in the album’s closing number, The Heights of Spectacle, Hoffman tightly unwinding a mutedly plucky solo: sarcasm could be running high here. You’ll be humming this one afterward.

April 14, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Gorgeously Tuneful, Atmospheric Oldtime Gospel and Blues-Inspired Sounds From Trombonist Danny Lubin Laden

Trombonist Danny Lubin Laden‘s new album Through Our Time – streaming at Bandcamp – makes a great companion piece to Chris Pattishall‘s reinterpretation of Mary Lou Williams’ Zodiac Suite. Both albums are built around oldtime gospel and blues riffs, and both have trippy electronic touches. This one is even closer to psychedelia or ambient music.

Lubin Laden is a very thoughtful, purposeful player. He knows his blues inside out and has a killer lineup: Ari Chersky is the one-man orchestra, on guitar, bass, keys and endless loops, with Christopher Hoffman on cello and drummer Craig Weinrib rustling on his rims and toms for extra suspense. Chersky put out a considerably darker record of his own, Fear Sharpens the Dagger, in a similar vein a couple of years back and fans of that one should check this out as well.

The album opens with Sun Rays, an aptly warm, contemplative spiritual riff and variations over drifting electronic ambience. Track two, Depth and Distance, is anchored by a a terse, muted, altered soul bassline from Chersky as Lubin Laden plays dark blues amid the swirl. The atmosphere warms again with Smiling in a Dream, the trombone awash in twinkly synth and a synthesized haze.

Your Future, For Now darkens over a churning backdrop. Lubin Laden builds After You around a gorgeous, 19th century style pastoral theme: imagine Bryan and the Aardvarks playing a Bill Frisell tune. The atmosphere grows more nebulous with Hopes, then Chersky loops a gentle oldschool soul riff for Throwing Pennies in a Fountain of Luck, which could be a deconstructed Smokey Robinson ballad.

Now Fast Forward comes across as a long intro, Chersky’s spare, emphatic chords and Hoffman’s triumphant sustained lines back in the mix. The group go back toward wistful rusticity in A Glimpse of Faint Fir Vistas and then move to more ominous, acidic terrain with What’s At Stake.

Lubin Laden multitracks himself to expand on a stirring gospel theme laced with grim neoromanticism in Through His Eyes and closes the album with the swirly vignette Lost Bones. Whether you consider this jazz or ambient music, you will be humming it to yourself afterward.

March 23, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

The New Threadgill Album: Same Old? Not Really

If you’re a Henry Threadgill fan, you’ve probably already got his new sextet album Tomorrow Sunny/The Revelry, Spp on Pi Recordings with his long-running band Zooid. Threadgill’s been at the forefront of improvised music for so long that we take him for granted, and we shouldn’t: 68 years old, still constantly questioning, searching, reflecting, pushing the envelope. For fans of collective improvisation, the question isn’t whether this is a good album, it’s where it fits in the Threadgill oeuvre, and the answer is close to the top. How sunny does the future look here? Is today all rain and gloom? Hardly. This is an upbeat, optimistic, richly energetic album.

The revelry is between the players: along with Threadgill on alto sax and flutes, there’s Jose Davila on trombone and tuba, Liberty Ellman on acoustic guitar, Christopher Hoffman on cello, Stomu Takeishi on acoustic bass guitar and Elliot Humberto Kavee on drums. Nuts-and-boltswise, what Threadgill is doing is assigning specific intervals to each instrument as a basis for improvisation, creating seemingly endless permutations of the intricate counterpoint that’s been a signature device of his for decades. It does for rhythm what Miles Davis’ modal approach did for melody. Threadgill has long been praised by his fellow musicians as a composer who writes specifically to his players’ strengths, and that’s especially apparent here.

The opening track, A Day Off, is basically a fractured swing tune. A bass/cello pulse loosens as Ellman wanders and Hoffman fills in the spaces with a carefully interweave. Then Takeishi joins the spiral as Ellman dips low, Threadgill joins the party and the rest of the group can’t help but take the casually jaunty energy up a notch. The title track begins as artfully camouflaged clave and a rhythmic thicket lit up on one end by prowling tuba and on the other by Ellman’s atonal chords, Threadgill’s blithe flute handing off to the cello which takes it in a darker direction while Kavee slowly switches to a shuffle. The relatively brief So Pleased, No Clue slows the pace and distances the instruments from each other: spacious pizzicato cello and guitar echoing each other, tectonic shifts between the low instruments and if you listen closely, you realize they’re playing a rondo!

The centerpiece here is See the Blackbird Now. It’s the most overtly melodic and by far the darkest track here: Threadgill’s long, moodily bluesy bass flute solo following Hoffman’s apprehensive staccato is arguably the album’s high point. Ellman follows it gingerly as the band meanders murkily behind him, the trombone pulling everybody back above ground. Hoffman’s agile staccato lines evoke Stephane Grappelli as the band pulses and shuffles on the neatly entwining Ambient Pressure Thereby, Threadgill’s enigmatic alto sax bobbing and weaving as the rhythm coalesces apprehensively and then relaxes for a playful joust between guitar and tuba. Davila’s trombone gets to build spaciously joyous suspense for the rest of the band to explore and gently sway toward a resolution on the concluding cut: Hoffman gets to take his time relishing in bringing it around. For fans of improvised music, it doesn’t get much better than this.

June 13, 2012 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Marc Ribot Brings Noir Heat and Chills at the New School

Without Shahzad Ismaily, this review would not have happened. Not knowing that reservations were required for Marc Ribot’s concert Saturday night at the New School, we showed up without them, and the door crew, expecting a sellout, turned us away (which actually wasn’t unreasonable: by showtime, there were still a few open seats, but the auditorium was pretty close to capacity). Overhearing us kvetching outside and plotting our next move, Ismaily came to the rescue (he doesn’t know us; we’d never met before) and comped us in. So now we know that Shahzad Ismaily is as good a guy as he is a musician. His bass work was as inspiring as always, an effortless mix of fat, slinky, swingingly tuneful riffs and vamps while Ribot and his nine-piece noir orchestra prowled and snarled seductively overhead.

Marc Ribot may be famous for being able to play in any style ever invented, but the chameleonic guitarist has found his niche. He’s never sounded more articulate, or been able to interpolate all the things he does best – menacingly twangy atmospherics, frenetic noise and tersely slashing blues – as entertainingly and irresistibly as he does with his noir soundtrack stuff. Among the material on this cinematic-themed bill were pieces of the soundtrack to the noir films Scene of the Crime and Touch of Evil along with a selection of noir (and noir-influenced) instrumentals by the Lounge Lizards, John Zorn and Ribot himself. It was creepy, and sexy, and intense to the point that by the end, pretty much everybody including the band seemed pretty exhausted. The best New York concert so far this year? Arguably, yes.

One of the night’s high points was a John Barry scene titled Kill for Pussy, from the Body Heat soundtrack, tinkly piano and sultry/deadly Doug Wieselman alto sax over a relentless, brooding pulse that took on a slightly less menacing, more lurid tinge as it progressed. The other was an insistent, galloping Ribot chase scene, the slasher going in for the jugular, spinal cord, skull and everything else within reach in a frenzy of horns and atonal tremolo-picking. His Strat drenched in reverb, Ribot turned a noir cabaret Andre Previn tableau from Scene of the Crime into chilling southwestern gothic, later leading a tongue-in-cheek parade through a reggae version of a Henry Mancini piece lit up by Curtis Fowlkes’ triumphant trombone. The Lynchian midsummer night scene that opened the show vamped on a couple of chords as it shifted almost imperceptibly from suburban gothic twang to a mutant Stax/Volt blues and back again lushly with the strings going full tilt. A John Zorn piece from the 80s burned through an explosion of horns, a chase scene, some Chuck Berry and then reggae, all in three minutes. The rest of the show mixed twisted striptease themes with an evil marionettes’ dance, a cover of the Get Carter theme done as Herbie Hancock might have circa 1971, and a couple of Lounge Lizards tunes: an early one that saw Ismaily walking crazy scales as the band squawked, screamed and shuddered, and a later, much quieter piece that marvelously built suspense, from apprehension to something more like sheer terror. Let’s hope this isn’t the last we see of this amazing band, which also included John Mettam on drums, vibraphone and bongos; Christina Courtin on viola; Christopher Hoffman on cello; Rob Burger on acoustic and electric piano and organ, and a violinist whose name we didn’t catch.

April 5, 2011 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment