Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Revisiting a Stunningly Orchestrated Piano Jazz Masterpiece

On one hand, the lockdown has been a nightmare on pretty much every level. On the other, sudden time away from work opened up a window for some serious spring cleaning. Beyond the chance to wipe the extraneous stuff off the hard drive, these past months have been an opportunity to spend quality time with some great albums which had been sitting around for a long time, sometimes years, and had always been on the bubble. Yet they never ended up making the front page here until now. This is one of them.

Pianist Danny Green‘s 2018 album One Day It Will – streaming at Spotify  – is one of the most unselfconsciously gorgeous releases in recent memory. The obvious comparison is the classic 1966 Bill Evans Trio with Symphony Orchestra record, although Herbie Hancock’s Maiden Voyage Suite and Matt Ulery‘s recent work are also points of reference. Green really likes the high midrange: his soaring melodies have a rare glisten and gleam.

Jazz with a string section goes all the way back to Charlie Parker, but this is a landmark of the style. Here the pianist is joined by bassist Justin Grinnell and drummer Julien Cantelm from his long-running trio, plus a string quartet comprising San Diego Symphony violinists Kate Hatmaker and Igor Pandurski, violist Travis Maril and cellist Erica Erenyi. If breathtaking lushness is your thing, this is your holy grail.

The group open with the bright, chiming, anthemically Brubeckian Time Lapse to Fall, the strings leaping in swells and counterpoint. As the Parrot Flies has a dancing, tropical quality: it could be vintage Donald Fagen at his most elegant and erudite, at least until the tumbling, eerily modal bridge.

The album’s title track is a striking, achingly bittersweet ballad: one of the coolest things about this album is how the strings, or a violin, or the cello carry the melody as often as the piano does. In this case, it’s Grinnell’s muscular solo that signals a shift toward sunnier exchanges between Green and the strings.

View From the Sky, with its dancing ebullience and lyrical upper-register piano, makes a good segue. From the shimmering strings of the intro to its catchy, gospel-flavored dynamic shifts, Lemon Avenue is the album’s most expansive track. November Reveries, a fondly brisk ballad without words, has Grinnell adding gravitas over Cantelm’s flurries until the strings come sweeping back.

Green’s wistfully vamping variations in Sifting Through the Silence might be the most vivid distillation of where he’s going with all this. The saturnine, brooding October Ballad, a jazz waltz, is the album’s most darkly stunning track, with a stark, tantalizingly brief cello solo toward the end.

The memorably rippling Snowy Day in Boston evokes a steady trail of chilly South Station T riders looking forward to cozy Somerville apartments more than it does, say, dodging snowplows on Mass Ave. The album winds up with the imaginatively blustery orchestrated blues Down and Out.

November 4, 2020 Posted by | classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment

Eclectic Tropical Moods from Pianist Danny Green

Pianist Danny Green’s compositions approach Brazilian and latin jazz with the the same kind of attractive but sometimes apprehensive tunefulness that groups like Brian & the Aardvarks, Jeremy Udden’s Plainville and Bill Frisell’s ensembles bring to the Americana side of the equation. A Thousand Ways Home, Green’s second album as a bandleader, captures him in a variety of settings, taking considerable inspiration from south-of-the-border sounds. Upbeat as much of this music is, it’s not shallow.

As expected, the standout tracks here are the darkest ones. The real stunner is Over Too Soon, a steady, unselfconsciously gorgeous, Lynchian song without words, lit up by Eva Scow’s flickering, tremolo-picked mandolin lines. Likewise, the diptych Dusty Road, shifting from Green’s bitingly cinematic, solo neoromanticism to a wary bossa nova bounce. Tranquil Days rises from a murky rubato intro to a vividly overcast tropical ambience, Tripp Sprague’s nonchalant tenor sax contrasting with Green’s brooding sostenuto. The aptly titled, understatedly potent Under Night’s Cover takes refuge in Green’s bright, bittersweet nocturnal gleam, drummer Julien Cantelm’s artfully camouflaged clave groove in tandem with Justin Grinnell’s judiciously funky bass. Nighttime Disturbance has both Green and Sprague percolating a moody, modally-charged tune that shifts to a carefree, funky sway. A diptych, Dusty Road, picks up with a jolt out of Green’s bitingly cinematic neoromanticism.

The title track, a jazz waltz, couples tersely bluesy bustle to warmly reflective melodicism that moves in a jauntily latin direction on the wings of  Sprague’s soprano sax. A matter-of-fact bluesiness from both Green and Peter Sprague’s guitar drives the funky, steadily insistent Soggy Shoes, while Back to Work bounces along on a catchy catchy bossa tune. There are also a quartet of sambas: the blithe but laid-back vamp Flight of the Stumble Bee and its wry Monk allusions; Unwind, the mandolin adding guitar-like timbres in tandem with the piano as well as a bubbling, unexpectedly blues-infused solo; the incisively syncopated Running Out of Time; and Quintal de Solidao, with cheerily nuanced vocals by Claudia Villela and lithe guitar from Chico Pinheiro.

December 25, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment