Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Feast of Catchy Tunesmithing, Big Ideas and Picturesque Themes on Annie Chen’s New Album

Composer/singe Annie Chen’s imagination knows no bounds. By any standard, her music is richly layered and often lavishly orchestrated. There’s an unusual majesty and cinematic sweep to much of her work, especially for a vocalist. The dream world is a recurrent reference point, as are several striking musical themes woven throughout her songs, some of them drawing on traditional Chinese melodies.

Chen’s writing is extremely clever, and a lot of fun, often infused with an irrepressible sense of humor. Sara Serpa is a viable comparison, another rare jazz singer who doesn’t shy away from big. sometimes nebulous ideas; interestingly, both have roots outside the US, Serpa hailing from Portugal and Chen from China. Chen’s new album Secret Treetop, a jazz sonata of sorts, is streaming at Bandcamp; she and her group are playing the release show on Dec 9 at 8:15 PM at Shapeshifter Lab. Cover is $15.

It opens auspiciously with Ozledim Seni,Matthew Muntz’s stygian solo bowed bass intro over drummer Jerad Lippi’s rattles rising tensely with Chen’s melismatic, looming vocals…suddenly she hits a big flourish and the band is bouncing along with a distant Balkan tinge, spiced with Glenn Zaleski’s rippling piano and Rafal Sarnecki’s spare, emphatic guitar. Alto saxophonist Alex LoRe takes it down to a suspenseful, modal pulse, then rises with chirpy determination to where Chen leaps back in with her vocalese.

Majo Kiki in12 Days opens with a dramatic flight scenario and plenty of suspense, too; as usual, Chen flips the script, segueing without warning into a glittering nocturnal theme before bringing back the A-section An enigmatic, insistent, staccato bass-and-guitar conversation gives way to Tomoko Omura’s acerbically dancing violin solo and then a catchy descent beneath the stars.

Chen begins the ten-minute Chinese classical epic Ao Bao Xiang Hui stately and cool, Sarnecki’s sparsely circling guitar and LoRe’s alto expanding and pulling back. David Smith’s trumpet is a herald in the forest; spikily dancing piano fuels majestically ominous horn riffage. Buzzy guitar takes the song further out on a postbop tangent; this trip ends suddenly and counterintuitively.

The title track is a more direct variation on that same circular theme and variations, this time with expansive piano rivulets and a long, emphatic, pouncingly rhythmic crescendo. Orange Tears Lullaby has a darkly elegant, spiky guitar-and-piano intro and rises to a jubilant, precisely undulating theme spiced with stark violin. ‘Never doubt me under the covers,” Chen asserts.

The diptych Mr.Wind-Up Bird, Strange Yearning circles upward to a jaunty groove that’s part samba, part Chinese anthem and part mighty urban bustle. LoRe gets a long launching pad to sail and spiral from; Sarnecki plays it closer to the vest.

Leaving Sonnet is one of the many studies in contrasts here, a breathless yet precisely articulated travelogue over a lustrous backdrop lit up with a trumpet solo that grows from wistful to frenetic and back as the band shift in and out of a lush waltz. Chen weaves the album’s main circling theme into her syncopated reinvention of the 1980s Taiwanese pop hit Gan Lan Shu (Olive Tree): the pairing of piano ripple and guitar clang is absolutely luscious. The final track, My Ocean Is Blue in White, a pensive tale of a thwarted seduction, has a surreal hint of bluegrass. There is no one in the world who sounds like Annie Chen.

Vocally speaking, sometimes it’s hard to tell where Chen’s English – still a work in progress – leaves off and the vocalese kicks in. But that’s not a big deal. These colorful songs speak for themselves.

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December 5, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Guitarist Chris Jentsch Air Out His Latest Vivid, Cinematic, Politically Relevant Suite

Where so many jazz musicians write riffs and then jam them out, guitarist Chris Jentsch writes lavish suites – which he then plays with remarkable terseness and attention to detail. His narratives are vivid and often very funny. His latest, Topics in American History, couldn’t be more relevant. Leading his sardonically titled No Net in what was the final live performance of those songs last week at Greenwich House Music School, Jentsch played with his usual purposefulness. restraint and sense of the musical mot juste, joined by an all-star cast including Mike McGinnis on clarinet and bass clarinet, David Smith on trumpet, Brian Drye on trombone, Michel Gentle on flutes, Jacob Sacks on piano, Jim Whitney on bass and Eric Halvorson on drums.

Last-minute substitution Jon Irabagon did a heroic job reading his parts, as Jentsch acknowledged, adding both volleys of postbop purism on tenor sax along with wry, microtonally-tinged humor that dovetailed with the bandleader’s own sensibility.

The centerpiece of the show was Dominos, a forebodingly expanding tableau that brought to mind Darcy James Argue in particularly sinister mode. A sotto-voce, latin-tinged, quasi-Lynchian spy theme that explores Cold War-era paranoia, its high point was a distantly grim, hazily sunbaked Jentsch solo midway through.

The evening’s coda, Meeting at Surratt’s, was arguably even better. The band built hushedly marching, conspiratorial ambience around a wistfully folksy Ashokan Farewell-ish theme to commemorate Mary Surratt, the first woman in US history executed for a Federal crime. The proprietor of the Washington, DC boarding house where John Wilkes Booth and his conspirators hatched the plot for the Lincoln assassination, she may well have been innocent. Ineluctably and somberly, the band made their way through its mighty, cinematic sweep, from southern gothic to Morricone-esque insistence, down to a single macabre swoop from Jentsch’s guitar, a body falling from the gallows.

The rest of the set was just as diverse and no less gripping. Tempest-Tost, inspired by an inscription on the Statue of Liberty, followed the steady if turbulent path of Ellis Island immigrants, Jentsch’s low, looming solo front and center. Smith and Drye’s irresistibly cartoonish dueling personalities brought jaunty banter to the New Orleans-tinged Lincoln-Douglass Debates. The uneasily expanding vistas of Manifest Destiny – with incisive solos from Whitney, McGinnis and Irabagon, the latter on soprano – grew more satirical in Suburban Diaspora, its vintage soul roots subsumed by blustery faux-optimism. And the night’s opening number, 1491, bookended a jaunty tropical-tinged shuffle with wryly jungly atmospherics – clearly, the continent was in a lot better shape that year than the next, when the slaver Columbus arrived.

May 6, 2018 Posted by | jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment