A First-Class, Thoughtful Trumpeter Onstage in Queens Tonight

A few days ago this blog enthused about the Ulysses Owens Big Band‘s debut album, a dynamic concert performance immortalized via what sounds like a monitor mix. Here’s another one: trumpeter Jonathan Saraga‘s Live at Nocturne, recorded in concert at that Denver boite in August of last year. It’s a tight set despite the expansiveness of the individual numbers. Saraga and his quintet really stretch out here, sometimes as much as eighteen minutes at a time. Even better, Saraga has released this – and other first-class live recordings – as free downloads at Bandcamp. More artists should do that: it’s truth in advertising. Saraga and band are playing tonight, June 2 at 7 PM on the flatbed trailer out back of Culture Lab in Long Island City

They edge their way into what will become more than seventeen minutes of the album’s first song, It Could Happen to You, introducing a loose-limbed swing. The bandleader takes his time, choosing his spots, rising and falling, drummer Colin Stranahan his usual colorful self behind the kit. Likewise, guitarist Max Light’s steady, strolling solo, ceding to pianist Eric Gunnison’s interchange of ripple and emphasis as bassist Gonzalo Teppa tirelessly walks the changes.

Next up is almost fourteen brisk minutes of Freddie Hubbard’s Birdlike, Stranahan churning the waters: this time the arsonist in charge is Light. Saraga returns to centerstage in this version of If I Should Lose You: assuming the tracklist matches the setlist, Saraga’s command of pacing, whether in a song or over the length of a concert, is masterful.

The group pick things up again with Cedar Walton’s Bolivia, fueled by Light’s simmering eighth-note runs. The decision to play If I Should Fall in Love pretty much straight up doesn’t work with the crowd – you can hear the chatter level rising through this cheeseball despite Stranahan’s attempts to liven things up.

A return to the jazz canon with Sonny Rollins’ Airegin pays off, Saraga’s clusters and chromatics over Stranahan’s often floating swing, at least when he’s not throwing elbows with Light. The band really go to town in Like Someone in Love, Saraga blazing right out of the gate, Light wowing the crowd with his Wes Montgomery licks, Gunnison and Teppa finally breaking the rhythm out of the swing box.

Likewise, they play Sam Rivers’ Beatrice with more reckless abandon: by now, they’re into the second set, Saraga and Teppa are more animated and the whole band sound well-oiled through a warm, aptly nocturnal ending. The game plan is the same for the cascades and chugging drive of My One and Only Love

Nica’s Dream, the Horace Silver tune, gets a cheery salsa groove and spiky acidity from Light and Gunnison, then Teppa gets ghostly with his bow. By now they are really cooking, and the latinized, rhythmically shifting take of Darn That Dream makes a great segue. They wind up the night with The Song Is You, Stranahan getting shamanic, then hitting a charging swing for Gunnison and Saraga to scramble along with. Solo-centric? For sure. Standards in lieu of originals? Yeah, but it’s an entertaining jam.