Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Broodingly Catchy, Lithely Orchestrated Album and a Week at the Vanguard by Pianist Edward Simon

Duke Ellington liked suites. So does Edward Simon. Likewise, the jazz icon and the Venezuelan pianist share classical roots, a genius for orchestration and a completely outside-the box sensibility. Simon’s latest album Sorrows and Triumphs – streaming at Bandcamp – reaffirms his darkly eclectic sensibility, interspersing material from two suites. The first is the broodingly orchestrated title suite, the second is his more rhythm-centered House of Numbers suite. The result is as lavishly hypnotic as it is incisive and edgy. Simon is bringing a stripped-down version of the band on the album – his Steel House trio with bassist Scott Colley and drummer Brian Blade – to a stand at the Vanguard that runs from Jan 8 through the 13th, with sets at 8:30 and 10:30 PM; cover is $35.

The album’s epic opening track, Incessant Desires begins with a misterioso rustle, chamber quartet the Imani Winds wafting over a tersely enigmatic series of hooks, alto saxophonist David Binney adding spaciously placed colors. Singer Gretchen Parlato joins them as the music rises joyously, guitarist Adam Rogers leading a pensive return downward. Darcy James Argue at his most plaintively lyrical is a strong reference point; Binney’s moody modal solo over Simon’s tense, distantly menacing glimmer as the wind ensemble circle around behind them could be the high point of the album.

The group keep the eerily dancing glimmer going with the circling counterpoint of Uninvited Thoughts, with piano that’s both carnivalesque and carnaval-esque. Once again, Binney adds judicious riffage, this time throughout a lively exchange with the wind ensemble.

The shadowy interweave between piano, guitar and Parlato’s tender yet assertive vocalese as Equanimity gets underway slowly reaches toward anthemic proportions. This time it’s Rogers who gets to take centerstage in the ongoing enigma: the sense of mystery throughout this album is pretty relentless.

With its persistently uneasy, often hypnotic piano chromatics, the winds weaving in and out, Triangle is equal parts Bernard Herrmann suspense film theme and Darcy James Argue altered blues. It’s the key to the album.

The balmiest, most atmospheric track is Chant, anchored by Rogers’ tremoloing guitar waves and Parlato’s gentle, encouraging vocals. Colley’s minimalist solo echoes Simon – and is that an organ, back in the mix, or just Rogers using a pedal?

Venezuela Unida, a shout-out to Simon’s home turf, has most of the band running a warily dancing melody together, then diverging into clever, tightly clustered polyrhythms. The sparse/ornate dichotomies and moody/ebullient contrasts as it winds up and out wouldn’t be out of place in the Maria Schneider playbook.

Triumphs is part circling indie classical, part terse latin jazz, Parlato’s misty mantras and Rogers’ wry oscillations at the center. The album’s slowly pulsing closing cut, Rebirth, is even more envelopingly stripped down. If this otherwise jauntily orchestrated masterpiece slipped under the radar for you in the past year’s deluge of albums, now’s as good a time to immerse yourself in Simon’s dark melodic splendor.

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January 4, 2019 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Weekend Jazz Gallery Stand and a Killer, Funny New Album by the Dan Weiss Large Ensemble

Drummer-led bands tend to be excellent. And they should be. Good drummers are more in demand than any other musicians: consequently, they tend to have enormous address books. So it was hardly difficult for Dan Weiss to pull together his Large Ensemble, which includes singers Jen Shyu and Judith Berkson, harpist Katie Andrews, bassist Thomas Morgan, alto saxophonist David Binney, tenor saxophonist Ohad Talmor, guitarist Miles Okazaki, pianists Jacob Sacks and Matt Mitchell, trombonists Jacob Garchik and Ben Gerstein,

Their latest album Sixteen: Drummers Suite (due out momentarily from Pi Recordings, hence no streaming link yet) celebrates the work of some of the greatest names in jazz drumming, with original conpositions springboarding off a series of the bandleader’s favorite riffs from across the ages. It’s an awful lot of fun. The band moves between jaunty interplay, frequent droll/serioso contrasts and playful echo phrases, relying heavily on Shyu and Berkson’s ghost-girl vocalese. It’s indie classical with more complex rhythms and what sounds like purposeful improvisation, although it could be completely composed. The AACM’s album with Fontella Bass could be an influence. Weiss and the group are celebrating the album’s release with a weekend stand, sets at 7:30 and 9:30 PM on February 12-13 at the Jazz Gallery. Cover is $22

Weiss kicks off the album solo with a terse series of licks that the ensemble will build on later. The compositions’ titles all refer to iconic jazz drummers: Elvin Jones, Max Roach, Tony Williams, Philly Joe Jones and so on. The arrangements very seldom have the full orchestra going all at once, instead relying on momentary handoffs, slowly rising trajectories and frequent pairings or conversations. Those can be downright hilarious. The interlude during Max where it sounds like John Zorn doing P-Funk, Weiss’ abrupt WTF reaction to increasingly cacaphonous sax chatter in Tony and the many, many, many trick endings in Philly Joe are some of the best. There are plenty more.

In their most hectic moments, the band evoke the Claudia Quintet on crank; in their most ornately lustrous, Karl Berger joining forces with Roomful of Teeth. Most of the seven tracks here are partitas, shifting completely from one theme to a seemingly unrelated one. Although the segues are a little off-kilter, the music is consistently interesting. Elvin has jaunty wafts of vocalese from Shyu to Berkson and come-hither fingersnaps. Max features tongue-in-cheek juxtapositions between faux-metal fuzzbox guitar and Berkson’s arioso vocalese…and then takadimi drum language taking over in the drollery department.

For all its hijinks, the creepy piano riffage early on in Tony foreshadows a lot of what’s to come. There are echoes of Missy Mazzoli in a rare carefree mood throughout the vocal swoops and dives in Philly Joe. Klook features an enigmatic, starlit interlude amidst its circling, indie classical-influenced riffage, as does Ed. That passage is a stark, desolate one with acoustic guitar, glockenspiel and tinkly piano, straight out of the Iron Maiden playbook. Even for those who don’t get all the references and insider jokes here, this is still an awfully fun ride.

February 11, 2016 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment