Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Ilhan Ersahin’s Istanbul Sessions with Erik Truffaz

This is groove jazz but it’s not exactly lite jazz. Over a steady beat, whether that might be in straight-up 4/4 or something more complex, saxophonist/composer (and Nublu nightclub owner) Ilhan Ersahin joins forces with trumpeter Erik Truffaz, bassist Alp Ersonmez, drummer Turgut Alp Bekoglu and percussionist Izzet Kizil to create an imaginative series of soundscapes, some hypnotic and totally psychedelic, others closer to a traditional jazz framework. Horns and reeds are occasionally abetted by light electronic touches (a pitch pedal for the trumpet, effects pedal for the bass and occasional loops) that bring up the playfulness factor but never turn the tunes  completely over to the machines. This album blends pretty much equal amounts of late-night chillout material along with more melodically diverse, often Middle Eastern-tinged compositions.

The opening track, Freedom shuffles over a looping, aggressive reggae-tinged bass riff, Ersahin’s tenor expanding slowly. Truffaz comes in with similar precision, then they eventually switch roles. With its martial beat and hypnotically steady 8th-note bassline, Bosphorus’ understatedly bracing Middle Eastern modal flourishes give way to warm atmospheric vistas. The band follow this with Doors to Heaven, a breezy conversation between trumpet and sax; then a segue into an off-kilter passage that slowly congeals with a dub reggae feel.

Sam I Am features Ersahin at his balmiest, working a series of scales over clattering drums and a hypnotic bass pulse, then hinting at Middle Eastern tones, Bekoglu getting a rare chance to really cut loose with the drums and making the most of it. The aptly titled Downtown Istanbul moves quickly from fond wee-hours salute to jagged blues, Truffaz flailing against the rhythm section’s dubwise low-register wash. By contrast, Les Ottomans, a brisk motorway melody, optimistically awaits an action film ready to speed along with it before the final showdown. The album closes with its two best cuts, the echoey David Lynch style nightmare noir of Alley Cats, and Our Theory, which matches woozy dub to soaring majesty. Ilhan Ersahin’s Istanbul Sessions play this year’s Turkish Woodstock at Central Park Summerstage on July 3. Early arrival, 3 PM is a necessity, least year’s concert having conservatively drawn a crowd of about ten thousand, packing the arena in minutes. If you miss him there, you can always catch him on his home turf at Nublu.

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June 9, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Creepy and Dreamy with Mojo Mancini

New York noir doesn’t get any better than this. With Big Lazy on the shelf, Mojo Mancini has moved in to take over the role of New York’s most deliciously creepy instrumental group. With allusions to the Doors and Henry Mancini, they’re aptly named, blending a stylish dark rock vibe with equally dark Hollywood atmospherics. Their album is sort of an accident: tenor sax player Rick DePofi, Rosanne Cash bandleader/guitarist John Leventhal, drummer Shawn Pelton, Bob Dylan keyboardist Brian Mitchell and bassist Conrad Korsch would get together and jam just for fun, or to blow off steam between gigs and/or recording dates. Happily, they had the good sense to record these jams, realizing that they had genuine magic on their hands. The arduous task of sifting through the tapes fell to DePofi, a professional recording engineer. This is the result. At one point or another, all the songs here sway to a trip-hop beat – and as dark as a lot of them are, there are also several which are irresistibly funny.

The album opens with a characteristically eerie, David Lynch style wee-hours scenario, Leventhal playing terse, tense jazz lines against Mitchell’s organ swells. Gansevoort, named after the street just off the Westside Highway where the album was recorded (and where bodies were once dumped with regularity) is an echoey trip-hop organ funk groove, part early 70s Herbie Hancock score, part sleek stainless steel club music, part Jimmy McGriff. Just Sit, featuring a sample of poet/activist Jack Hirschman, welds watery 1970-era David Gilmour chorus-box guitar to balmy sax over a laid-back funk groove.

Leventhal turns an expansive, sunbaked guitar solo over to DePofi’s tenor on the pensive Clear Fluids, which then winds it up to a big crescendo. The dub-inflected Peace Plan moves from spacy Rhodes piano to a sparse, Steve Ulrich-style guitar hook. The most Steve Ulrich-inflected number here is Let Us Pray, with its Twilight Zone organ, David Gilmour noir guitar lines and a couple of playfully sacrilegious Lawrence Ferlinghetti samples. There’s also a big sky theme, its disquieting undercurrent evoking Bill Frisell; a cinematic mini-suite with smoky sax that evokes mid-90s REM side project Tuatara; the banjo trip-hop of Long Neck, and the echoey, dubwise Slipper Room with its maze of keyboards and a rousing organ crescendo that segues into the next tune. Play loud, play after dark for best results.

May 30, 2010 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments