Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Lush, Epic, Hauntingly Cinematic Jazz from the Robert Sabin Dectet

Today’s Halloween album, streaming at Bandcamp, is Humanity Part II, released by bassist Robert Sabin and his dectet in 2015. The black-and-sepia cd packaging leaves no doubt about this lushly Lynchian musical reflection on the horrible things people do to each other There’s a dead woman lying in the woods on the front cover, silhouette of a guy going after his wife with an axe in the cd tray and a gloomy quote about loss and absence from Albert Camus’ La Peste on the inside cover flap.

These piece are epic – the shortest one is more than five minutes and the aptly titled concluding number, Leviathan, clocks in at almost eleven. The title track, a relentlessly enveloping rearrangement of Ennio Morricone’s theme to the John Carpenter film The Thing, opens the suite. Sabin’s bass and Jeremy Noller’s drums keep a calm, clenched-teeth suspense going beneath the band’s tectonically shifting sheets of sound, both tenor saxophonist Jason Rigby and guitarist Jesse Lewis reaching for postbop blitheness but quickly getting pulled down into the mist.

The ten-minute, Ingmar Bergman-inspired Through a Glass Darkly builds morosely out of a brooding guitar vamp. Ben Stapp proves that there can be noir hidden deep in the valves of a tuba, Rigby follows with a long, vividly downcast, smoke-tinted solo of his own and Sabin’s top-to-bottom, Gil Evans-like orchestration is deliciously uneasy. As is the way the guitar, then the bass, then the whole ensemble stalk Noller’s drum solo and make a carnivalesque mambo out of it. Gato Loco ought to cover this.

Sabin takes his inspiration for Scarecrow from the scene of a hanged man in the desert depicted in Ravel’s Gaspard de la Nuit. A tensely circling bass theme and ambered, spacious horns lead to an enigmatic John Yao trombone solo as the band swings straightforwardly.

Ghost is a portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space, moody horns leading to a pensive Rigby solo. Noller and Lewis team up for an allusively syncopated latin noir pulse, then back away.

Tenebre, inspired by Dario Argento’s cult film, opens with moodily circling syncopation, alto saxophonist Aaron Irwn and trumpet Matt Holman reaching to poke a hole in the grey clouds overhead. The bandleader’s solo swings morosely and then stalks as Leviathan rises from the depths toward macabrely cinematic heights, Irwin offering a sardonically contented wee-hours solo, a crowded club full of unsuspecting victims. Then Lewis hits his distortion pedal and bares his fangs! As the credits roll at the end, the monster gets away to ensure that there will be a sequel – we can hope, anyway.

One of the most lustrously dark and troubled albums of recent years, this could be the great lost Gil Evans record, or the soundtrack to a cosmopolitan David Lynch thriller yet to be made.

October 23, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Mighty, Majestic Big Band Debut from Christopher Zuar

Let’s say you want to start your career with a real bang. You don’t just want to slip in via the back door – you want to smash a grand slam on the first pitch you see in the majors. That’s pretty much what Christopher Zuar did with his debut recording, Musings, which hasn’t hit Spotify yet although there are a few tracks up at Sunnyside Records’ page. With the aid of producer Mike Holober, the young-ish (20s) composer assembled a titanic nineteen-piece crew of some of this era’s most distinguished names in big band jazz to play his lavish, lyrical charts. The result is the year’s best jazz debut – nothing else comes close. They’re playing Symphony Space on Dec 15 at 7:30 PM; cover is $22. If large ensemble jazz is your thing, you’d be crazy to miss this.

Zuar comes out of the Jim McNeely school of lush jazz orchestration, and there are echoes of the serpentine sweep of Maria Schneider as well here. But ultimately, this a toweringly individualistic statement. For all the epic gramdeur, there’s purpose, and drive, and eclectic influences as diverse as latin, Brazilian and baroque music.The opening track, Remembrance, springboards off a very simple octave riff and builds tension around a root note, in a Marc Ribot vein. At the center is a long, expressively nuanced Dave Pietro alto sax solo.

Frank Carlberg’s austere piano opens the steady, Bach-inspired Chaconne with a sly allusion to an infamous Led Zep riff, drummer Mark Ferber’s misterioso brushwork and bassist John Hebert’s minimalistic punches grounding the bright, brassy swells overhead as Zuar works another famous tune into the equation. Disquieting echo phrases mingle and flutter as Vulnerable States opens, Jo Lawry’s crystalline vocalese sailing over an uneasy, latin-tinged bustle: Zuar employs that superb voice as impactfully as Asuka Kakitani did with Sara Serpa on her similar blockbuster of a debut a couple of years ago.

Ha! (The Joke’s On You) – a shout-out to Zuar’s bubbe – references the baroque with its call-and-response along with a fiery, horn-driven vaudevillian funk surrealism driven by Pete McCann’s frenetically crescendoing wah guitar. Artfully fragmented voices intersperse, converge and then join forces as the ballad So Close Yet So Far Away coalesces, tenor player Jason Rigby’s turn from wistful to gritty triumph taking centerstage, down to a long, suspenseful outro.

Anthem has chattering Brazilian tinges, a dancing bass solo and a big vocal hook from Lawry,. Lonely Road, a reflection on the systematic destruction of Zuar’s beloved West Village in the ongoing blitzkrieg of gentrification, is a gem of a miniature rich with elegaic counterpoint: it quietly screams out for the composer to make a big wrecking ball out of it like the other numbers here.

The album winds up with its lone cover, a lithely bittersweet take of Egberto Gismonti’s 7 Anéis,  a striking, nebulously furtive interlude punctuated by swirly soprano sax at its center. This album is genuinely spectacular effort that also comprises the inspired, energetic work of woodwind players Ben Kono, Lucas Pino and Brian Landrus, trumpeters Tony Kadleck, Jon Owens, Mat Jodrell and Matt Holman, trombonists Tim Albright, Matt McDonald, Alan Ferber and Max Seigel. You’ll see this as this blog’s pick for best jazz debut of 2016 when the full list is published at NPR next week.

December 10, 2016 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Bright and Dark Shades of Cutting-Edge Big Band Jazz in Gowanus

Bassist Robert Sabin did triple duty the night of one of the year’s best twinbills this past Tuesday at Shapeshifter Lab, first leading his own group, Humanity Part II, then playing two sets with trombonist John Yao‘s explosive, vividly cinematic large 17-Piece Instrument big band. Yao wasn’t the only one with cinematic compositions: Sabin’s were just as vivid, and vastly darker. Nobody writes more evocatives dirges than this guy.

Guitarist Jesse Lewis opened the night’s first number, Scarecrow, as he’d often do throughout the set, building opaque washes of sound before Sabin and drummer Jeremy Noller joined him. Sabin’s compositions in this project draw as as much on classical and film music as jazz. Although this piece and others rose to lustrous peaks fueled by trumpeters Dan Urness and Matt Holman, alto saxophonist Aaron Irwin and tenor saxophonist Jason Rigby, the mood was typically somber, no surprise since Sabin’s latest album features what appears to be a corpse lying in the woods on the cd cover. Horn player Chris Komer contributed a methodically percolating solo midway through, over the group’s nebulous, midtempo swing.

Rigby’s bittersweetly minimalist tenor rose out of the mist as the group built Scarecrow to an uneasiliy soaring web of tersely echoing phrases, with a long trumpet solo out. Elegaically tolling bell-like motives permeated the wounded Tenebre. a quiet showstopper with saxes switched out for brooding clarinets as it gathered steam, Rigby’s gentle solo flickering amist angst-tinged swells, echoed by tuba player Ben Stapp. The mighty, steady, melancholy brass harmonies and eventually the creepy cha-cha that followed brought to mind Gil Evans’ iconically noir early 60s work, as did much of the rest of Sabin’s material.

After Ghost, a hypnotically resonant tone poem with some deliciously dynamic frenetic-to-calm guitar by Lewis, Sabin opened Through a Glass Darkly, prowling around in the murk with his bow. Lewis joined him with some harrowing David Gilmour phrasing, brooding modalities from Yao (who was also doing double duty) and Rigby leading the funeral procession out. The group closed with a similarly dark reworking of Ennio Morricone’s Humanity Part II and a low-key, enveloping update on the old folk song Pretty Polly

Awhile ago a certain extrovert drummer was asked to explain his large ensemble’s success. “We play jazz for tourists,” he explained. As colorful, and tuneful, and imagistically crystalline as Yao’s compositions are, there ought to be a Manhattan jazz club willing to give him a place to entertain the crowds and represent this city with music that’s every bit as accessible as the schlock that guy’s band plays but is also cutting-edge. Oh yeah – Yao already does when he plays with Arturo O’Farrill’s band and the Vanguard Jazz Orchestra. Still, his music would resonate with a vastly wider audience.

Yao’s mighty ensemble opened with the grittily swinging Hellgate, Rigby (another guy playing the whole marathon evening) at the center between contrasting flutter and buoyancy. Slow Children, a vividly urban tableau with the composer on trombone, showcased incisive parallel voicings, Rigby pairing off against the brass and holding his own, then a warm interlude with trombone and the rhythm section over a steady clave.

Early Morning Walk took the bustle, and distant angst, up another notch, a multi-part extravaganza with hints of funk, latin soul, a ballestesque Sabin bass solo and a big rush-hour peak: what started with maybe a dog walk and a couple of errands ended with a pretty frenetic train ride. By contrast, Flip-Flop – the title track to Yao’s most recent album with this group – featured an animated, jovial conversation between Irwin and tenor saxophonist Rich Perry as the piece followed an almost impercetibly steady upward trajectory toward lickety-split intensity.

Where Sabin’s work evoked Gil Evans in the 1960s, Yao’s Out of Socket brought to mind the Miles David collaborator’s lively, blustery dance band charts from ten years earlier, winding up with the brass blazing on a droll parade riff. Jesse Stacken’s meticulously looping piano anchored the clever echo phrases in Illumination, baritone saxophonist Andrew Hadro fueling a long, purposeful crescendo before Stacken added neoromantically lustrous cascades. Artfully implied rhythm shifts and hints of tropicalia figured in First Step, Alejandro Aviles’ soprano sax flights giving way to boisterous low brass. They closed with an expansive, hard-swinging take of Herbie Hancock’s Fingerpainting. There were also two resonant, minimalistic, rhythmless miniatures, designed to employ extended technique from the rhythm section as color, Yao explained. Altogether, a fiery and rewarding performance for the rest of the band, including trumpeters Nick Marchione, Jason Wiseman, Dave Smith and Andy Gravish; trombonists Matt McDonald, Mike Fahn, Eric Miller and bass trombonist Jennifer Wharton and drummer Vince Cherico.

Yao’s big band is back at Shapeshifter on April 5 at 8:15 PM; baritone saxophonist Frank Basile‘s sextet opens the night at 7, with a $10 cover.

March 21, 2016 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Vivid Melodies, Nimbly Negotiated by the Asuka Kakitani Jazz Orchestra

The Asuka Kakitani Jazz Orchestra’s debut album, Bloom is luminous, lush and symphonic in a Maria Schneider vein. Although there are many different colors at play here, they tend to be bright, summery and vibrant. Translucent motifs shift through the arrangements with an unlikely nimble, assured, fleet-footedness for such majestic music: both the composer/conductor and her nineteen-piece ensemble deserve credit for manuevering through so many intricate turns. One particularly luminous timbre among many is singer Sara Serpa, whose wordless vocals add either brightness or opacity, depending on context. She’s a particularly good addition considering how singable Kakitani’s themes are. Throughout the album’s eight tracks, there are allusions to Brazil, the Romantic and late 70s Weather Report in the more amplified moments, but ultimately she has a singular voice.

The title track opens, a clinic in almost imperceptible crescendos, syncopated, suspenseful swells making way for an expansive John Bailey trumpet solo and then spiraling Jason Rigby tenor sax over Mark Ferber’s energetically dancing drums. As it reaches final altitude, Rigby builds to rapidfire clusters as the banks of clouds coalesce and move around him.

Electric Images moves around a lot; hazy ambience becomes a bright jazz waltz, bubbly Mike Eckroth Rhodes piano signals a tempo shift that slowly rises with Serpa’s guardedly hopeful lines, then lushness alternates with austerity all the way through a jaunty series of exchanges with the drums. Nobody gets stung in the Bumblebee Garden; rather, it’s a serene place for reverie from Serpa, trombonist Matt McDonald adding bluesiness to a decidedly non-bluesy atmosphere that builds to some tremendously interesting counterpoint between orchestra subgroups.

Dance One, inspired by the Matisse portrait of dancers in mid-stride, kicks off at full steam, working a tune evocative of the Police’s King of Pain, rich with countermelodies, smartly crescendoing John O’Gallagher alto sax and a nifty series of trick endings. Opened Opened , the first of two pieces from Kakitani’s suite Reimagining My Childhood, expands a traditional Japanese folk melody with a bluesy minor-key edge fueled by serioso Serpa vocalese, smoldering Kenny Berger bass clarinet and fiery dynamics that turn the low brass loose with an unexpected ferocity in what at first appeared to be such a gentle piece of music. The second song from that suite, Dragonfly’s Glasses is basically a segue and considerably brighter, lit up by a casual, airy Ben Kono alto sax solo as it sways up to another false ending.

Islands in the Stream is not the Kenny Rogers schlockfest but an original (Kakitani may not have been born yet when that monstrosity hit the airwaves). That too makes a good segue: Afrobeat allusions give way to a jazz waltz, Berger’s baritone sax handing off to Pete McCann’s bell-like solo guitar, trumpeter Matt Holman building from wary to carefree before tenor saxophonist Mark Small darkens it again…and then McCann takes it up, unleashed and screaming. The final track, Skip, takes a gentle ballad melody, syncopates it in 9/4 up to a dancing Eckroth piano solo, lets trombonist Mark Patterson heat up the warm lyricism and takes it out with a joyous Weather Report pulse. Other contributors to this disarmingly attractive album include Jeff Wilfore and David Spier on trumpets, Jacob Garchik on trombone, Jeff Nelson on bass trombone and Dave Ambrosio on acoustic and electric bass.

The Asuka Kakitani Jazz Orchestra plays the cd release show on Feb 11 at 7:15 PM at Drom; advance tix are only $10. They’re also playing Shapeshifte Lab on Feb 28 at 8 for the same deal.

January 31, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Classic Reinvented

This is the kind of group we like best – modestly titled but ambitious and very good at what they do. The Westchester Jazz Orchestra, who are in fact a conglomerate of A-list New York players, like to muscle up new arrangements of old classics, from Coltrane, to Dizzy, to Motown: their latest, a brand-new big band version of Herbie Hancock’s 1965 Maiden Voyage Suite, proves to be every bit worth the titanic effort it obviously took to create it. Hancock turned 70 this past year. No doubt he’d be proud not only to see how well his original has held up, but how inspiring it’s been to this large cast of characters, especially considering that they’ve added four relatively brief transitional passages – including a tantalizing, suspenseful conclusion to bring the suite full circle – which interpolate many of Hancock’s motifs. Ironically, the charts often take the tunes back in time to a late 50s milieu, especially when there’s a Cuban rhythm, a noirish, Mingus-esque crescendo or a bracingly cinematic Cal Tjader-esque moment. Conductor Mike Holober, along with Pete McGuinness, the group’s trumpeter Tony Kladeck and saxophonist Jay Brandford came up with the new charts. The rest of the ensemble includes David Brandom on soprano sax; Jason Rigby and Ralph Lalama on tenor sax; Ed Xiques on baritone sax; Jim Rotondi, Craig Johnson and Marvin Stamm on trumpet and flugelhorns; Larry Farrell, Keith O’Quinn and Bruce Eidem on trombone, George Flynn on bass trombone; Ted Rosenthal on piano; Harvie S. on bass, and Andy Watson on drums.

The prologue sets the stage, a somewhat murky ocean port scenario that segues up into the title track, understating its slinky pulse until Watson returns with a clave beat as it winds down. Before that, this eleven-minute monster gives Brandom the chance to flip the script from cheery to serioso, then Stamm foreshadows the intensity to an even greater degree. They segue again into Eye of the Hurricane, the heft of the charts powerfully enhancing its rhythmic insistence: Rigby follows Brandom’s tangent from the preceding track, Stamm swings it with the bass and Rosenthal gets to take it mysterious all by himself.

Little One stays closest to the original, with its series of wary alternating voices, a warm Farrell trombone solo over just the rhythm section and a beefed-up jazz waltz as the orchestra rises mightily. They follow it with a brief interlude that hints at the Caribbean. Survival of the Fittest, expanded into two parts here, gives Rotondi the chance to go completely out into the stratosphere with some lightning swirls and Rigby follows in the same vein on the second section, the big chase leading to the album’s most deliciously wailing crescendo. Dolphin Dance is the one that everybody covers, and both Lalama and Rotondi get to go deeply and thoughtfully into it, the trumpet shifting the mood rather dramatically from lush to wary – its final section, as the entire ensemble carries the melody, is richly satisfying. And the new Epilogue adds a neat suspenseful element to wind up an extremely original and successful reinterpretation. Spin this and you’re going to get a lot of “can you play that one again”‘ – and maybe a few “can we hear the original too”‘s.

November 13, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Top Ten Songs of the Week 6/8/09

We do this every week. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Every link here will take you to each individual song.

 

1. Botanica – How

About time we had a Botanica song at #1 here – this is a blistering version of the politically-fueled gypsy rocker from their killer new live album americanundone. Frontman Paul Wallfisch’s weekly Small Beast show upstairs at the Delancey resumes on 6/22 at 8:30ish.

 

2. Serena Jost – Vertical World

Deliciously smart, artsy pop song by the art-rock siren, live on the radio with her band. Other good stuff here too!

 

3. Jason Rigby – Moon Goddess

Quietly hypnotic, very pretty modal jazz. The sax player is at Cornelia St. Cafe on 6/12 at 9.

 

4. Bodies Full of Magic – La Fin Du

Catchy acoustic-based, Americana-inflected, lyrical pop from South Carolina. A little earnest but ultimately spot-on. They’re at Arlene’s on 6/18 at 7.

 

5. Tribella – Saucer Eyes

Girl power, fun jangly stuff from Austin. “Get her offstage, get her offstage.” They’re at Arlene’s at 8 on 6/22

 

6. Ghost Ghost – St. Valentine’s Day Massacre

Driving, percussive indie rock motoring along with a killer rhyhtm section and a dark lyrical sensibility – like early Wire but with more balls.

 

7. Mayaeni – All the Time

Smartly aware, bluesy acoustic soul song. She’s at Drom on 6/16 at 11 with her band.

 

8. The Five Points Band – I’m Funny

Maybe in a dark and sick way. Good, creepy stuff. They’re at Rodeo Bar on 6/18 at 10:30ish

 

9. Woodhands – I Kissed a Girl

Two gay Canadian guys doing an absolutely hilarious over-the-top disco version of the odious Katy Perry radio commercial, um, corporate radio hit

 

10. Zane Alan – Boone’s Farm

Sounds like he had a few bottles before recording this. He’s at Arlene’s on 6/20 at 7.

June 9, 2009 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 5 Comments