Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Broken Reed Saxophone Quartet Bring Their Irrepressibly Entertaining Sound to the South Slope

More than anything, the Broken Reed Saxophone Quartet swing. Most sax quartets work in the rarefied and all too frequently abstruse world of contemporary classical music. The Broken Reeds are one of the world’s funniest jazz bands, and the absence of bass and drums doesn’t keep them from bringing the party. Their most recent album, Those Who Were – a 2019 release streaming at their music page – may reference a lot of artists who’ve left us, but alto sax player and bandleader Charley Gerard’s compositions are as irrepressibly upbeat and entertaining as always. The group are bringing their bright, erudite, often comedic, catchy tunes to an outdoor show with special guest singer Tammy Scheffer on Oct 22 at 6:30 PM at Open Source Gallery, 306 17th St south of 6th Ave in South Park Slope. Take the R to Prospect Ave.

The album’s opening number, Something to Remember You By is somewhere between a stroll and a march, with rightly lustrous four-part harmonies, understated dixieland counterpoint and walking bass from baritone saxophonist Dimitri Moderbacher

Gerard leads a series of flutters punctuated by moments of warm resonance built around a catchy, cheery theme in A Long Life: the point seems that if you stick around long enough, you’ll be happy too. Soprano saxophonist Jenny Hill’s tantalizingly brief solo adds unexpected gravitas. She Was Connected to the Earth has more of a dixieland-style intertwine between the horns, while Don’t Forget the Cork Grease has a tightly pulsing hot 20s exuberance, once again capped off by Hill’s quicksilver legato.

A Lot of Living in a Short Amount of Time is an edgy, increasingly wild, Ellingtonian minor-key jump blues with some incisively conversational moments between Hill and tenor saxophonist Justin Flynn. Call Me Jimmy, dedicated to Gerard’s teacher and big inspiration Jimmy Giuffre, is an aptly eclectic mini-suite built around a sternly strolling, 19th century gospel-infused blues: a brilliant guy, but not a particular warm, fuzzy character, if this is any indication

The sixth track is Who Was Father Mckenzie? – gotta love these titles, huh? – and as Gerard sees him, he has a secret latin side. With its sly cha-cha riffage and Gerard reaching for the rafters, the song has absolutely nothing to do with the Beatles.

The group go back to biting minor-key blues in the steady, strutting bursts of Do You Want to Be Ruth. Hmmm…which one could this be? Ruth Brown, maybe? Hill’s solo about three quarters of the way in is one of the album’s most unselfconsciously breathtaking moments.

Gerard airs out his latin side again in Adios A Cuba, a slinky nocturne and one of only two tracks on the album with bass and drums. Goodbye Don, a fond remembrance of a former drummer, shifts from matter-of-fact lustre to a pulse that’s just short of frantic, Gerard’s high-voltage solo saluting a guy who obviously had no shortage of energy.

The group finally reach Keystone Kops scamper, intertwined within a surprisingly shamanic Afro-Cuban groove, in Father Mckenzie’s Cuban Catastrophe, only to end it on a simmering, serious note. They close the record with Ugly Duck Strut, dark and tan Ellingtonian blues filtered through jauntily shifting rhythms. If you were lucky enough to catch Quatre Vingt Neuf onstage in the months before the lockdown when Wade Ripka was frantically writing charts to Leroy Shield’s Little Rascals themes, you’ll love this crew.

October 17, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

The Jamie Begian Big Band Grins and Pushes the Envelope

Big Fat Grin, the new album by the Jamie Begian Big Band delivers everything a modern big band jazz outfit ought to: it’s a treat for anyone who goes for an intricate mesh of textures and a BIG, boisterous, ecstatic yet cerebral sound. Begian, a guitarist, takes a backseat here to the charts (there are cuts on which he doesn’t play at all). His game plan – to have fun, in a smart way – is a rousing success in every sense of the word. Fans of Darcy James Argue’s Secret Society, the Alan Ferber Nonet and similar cutting-edge largescale ensembles have a lot to sink their ears into here. A sense of the unexpected pervades everything. Begian gets maximum impact out of the powerhouse sonics because of the dynamism of the arrangements, often pared down for just a couple of voices, or even a single instrument, so when the band takes it up all the way, the effect can be breathtaking. Another neat thing about this band is that it’s not all about the blare, either – the low end doesn’t get neglected, especially when Max Seigel is anchoring it with his bass trombone alongside Dave Ambrosio’s prominent bass. A handful of tracks here work permutations on a repetitive, circular theme, often moving the voicings around in an unpredictable rondo. Begian also frequently employs collage-style charts, intricate overlays of individual instruments that fan out kaleidoscopically, a device that’s as fascinating to follow as it is original and innovative.

The centerpiece here is a four part suite titled Tayloration, the most retro of the compositions. Tracking a persistent, three-note pulse through several permutations – murky low-register explorations lit up by a gruff Jeff Bush trombone solo, an altered bossa segment, a slow, sly boogie and swing passages that contrast vividly with the underlying simplicity. The album’s opening track, Funky Coffee is basically an orchestrated funk groove. The entire crew’s in on it, making it contagious to the extreme, with a characteristically terse, bluesy Marc McDonald alto solo. The following cut, Halay is essentially a one-chord jam, variations on a fanfare over a swaying bass pulse, with a brightly lyrical, klezmer-tinged Dimitri Moderbacher clarinet solo. The most counterintuitive track here is Patience, which begins by cycling an eerie chromatic theme, individual voices pairing off against the bass, and ends up matching an insistently serious horn chart against the woozy grin of Begian’s slide guitar. A gentle, bucolic number, Suddenly, Summer Falls features balmy flute from Moderbacher and solo flugelhorn from Jason Colby, followed by some surprising but perfectly devised Memphis-style soul guitar. The album ends with the title track, a blast of surprises including a truly hilarious false ending. The Jamie Begian Big Band play the Bahai Center, 53 E 11th St between University Place & Broadway on Tuesday, July 20 at 8 PM.

July 18, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: Spanglish Fly – Latin Soul y Bugalú

This is what Spanish Harlem was rocking to forty years ago. What Sharon Jones did for oldschool soul, what Antibalas did for Afrobeat and what Chicha Libre is doing for chicha, Spanglish Fly is doing for bugalu. It’s what happened when Cuban son melodies collided with Stax/Volt and Motown, with fiery horns and a fat midtempo groove over a latin beat. It was a Nuyorican phenomenon and very popular back in the day. If you know Bang Bang by Joe Cuba, this is the same kind of thing. It’s about time somebody brought this stuff back and it’s a good thing it’s this band because they have authentic sabor with a 5-piece horn section, three percussionists, piano and a rhythm section plus Erica Ramos’ casually alluring, soulful voice soaring over it when there’s room. As dance music, it’s irresistible (at a live show, the group will often offer a free dance lesson for anglos or newschoolers who didn’t have the good fortune to grow up with this).

The cd’s opening track, Think (Pensamiento) is typical of what the old bugalú bands would do, a brand-new latin version of the old James Brown hit with fat low end, tight horns and a suspenseful intensity where the band theatens to completely rip it apart at the end but just manage to keep it together. An original, Latin Soul Stew was obviously made to be played live, with soaring trumpet over an ominous piano groove, the horns coming back in full force after a little vocal break. Another original, by one of the band’s trumpeters Jonny Semi-Colón a/k/a Jonathan Goldman sounds like ska but with a slinkier groove. Like a lot of bugalu hits, it’s a series of trick endings where the intensity builds every time the song comes back, with a gospel-inspired break toward the end. There’s also a joyously rattling cover of the big Ray Barretto crossover hit New York Soul. 

The band is an inspired collection of veteran New York jazzcats: besides Ramos and Goldman, they have Martin Wallace on piano, Mick Santurio on congas, Charly Rodriguez on timbales, Gabo Tomasini on bongos, Atsushi Tsumura on trumpet, Dimitri Moderbacher on bass, Rose Imperato on tenor sax, Jonathan Flothow on bari sax and Sebastian Isler on trombone. Spanglish Fly’s next dance party is April 2 at Camaradas El Barrio, First Ave. and 115th St. at 10 PM; the cd release show is on April 23 at Rose Bar.

March 18, 2010 Posted by | Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 6 Comments