Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Moppa Elliott Brings His Twisted, Hilarious Parodies to Gowanus

Is Moppa Elliott this era’s Frank Zappa? Elliott is funnier, and his jokes are musical rather than lyrical, but there are similarities. Each began his career playing parodies – Zappa with the Mothers of Invention and Elliott with Mostly Other People Do the Killing. Their bodies of work are distinguished by an equally broad and spot-on sense of humor, with a cruel streak. With Mostly Other People Do the Killing – the world’s funniest jazz group – seemingly in mothballs at the moment, Elliott has gone out and made a lavish triple album with three separate, closely related ensembles. The world’s funniest jazz bassist is playing a tripleheader, with sets by each of them tomorrow, Feb 15 at Shapeshifter Lab starting at 7 PM with the jazz octet Advancing on a Wild Pitch, following at 8 with quasi-soul band Acceleration Due to Gravity and then at 9 with instrumental 80s rock act Unspeakable Garbage. Cover is $10.

Where MOPDtK savaged Ornette Coleman imitators, fusion jazz and hot 20s swing, among many other styles, the new record Jazz Band/Rock Band/Dance Band gives the bozack to New Orleans shuffles, Kansas City swing and retro 60s soul music, and attempts to do the same to 80s rock. It hasn’t hit the usual streaming spots yet, although there are three tracks up at Soundcloud. Throughout the record, Elliott is more chill than ever, letting his twisted compositions speak for themselves.

It’s redemptive to hear how deliciously Elliott and the “dance band” mock the hordes of white kids aping 60s funk and soul music. This sounds like the Dap-Kings on a cruel overdose of liquid acid, trying desperately to hold it together. Without giving away all the jokes, let’s say that drummer Mike Pride’s rhythm is a persistent punchline. And yet, as relentless as the satire here is, there are genuinely – dare we say – beautiful moments here, notably guitarist Ava Mendoza’s savage roar and tuneful erudition: she really knows her source material.

The horns – trumpeter Nate Wooley, trombonist Dave Taylor, saxophonists Matt Nelson and Bryan Murray – squall when they’re not getting completely self-indulgent, Mendoza serving as good cop. Guitarist Kyle Saulnier and pianist George Burton fall somewhere in the middle along with Elliott. As an imitation of an imitation, several generations removed from James Brown, Isaac Hayes and Louis Jordan, this is hilarious stuff. The arguably most vicious payoff of all is when they swing that unctuous King Crimson tune by the tail until it breaks: it’s about time somebody did that.

Advancing on a Wild Pitch – with trombonist Sam Kulik, baritone saxophonist Charles Evans, pianist Danny Fox and drummer Christian Coleman – is the jazz group here, akin to a less ridiculous MOPDtK. As with that band, quotes and rhythmic japes factor heavily into the sarcasm, but you have to listen more closely than Elliott’s music usually demands to pick up on the snarky pokes. This is also his chance to remind the world that if he really wanted to write slightly above-average, derivative postbop jazz without much in the way of humor to score a record deal, he could do it in his sleep. But this is so much more fun!

Again, without giving away any punchlines, the length of the pieces and also the solos weighs in heavily. Oh baby, do they ever. They savage second-line shuffles, the Basie band, early Ellington, 30s swing and doofy gospel-inspired balladry, among other things. If you really want a laugh and can only listen to one tune here, try St. Marys: the most irresistible bit is about midway through. Even so, there are long, unselfconsciously engaging solos by Fox and Kulik in the two final numbers, Ship and Slab, which don’t seem like parodies at all. If Elliott has a dozen more of these kicking around, he could blend right in at Jazz at Lincoln Center – and maybe sneak in some of the really fun stuff too.

Unspeakable Garbage’s honking instrumental approach to cheesy 80s radio rock is too close to its endless litany of sources to really count as parody. With blaring guitar, a leaden beat and trebly synth, they devise mashups from a list including but not limited to Huey Lewis, Van Halen, Pat Benatar and Grover Washington Jr. This predictable shtick gets old fast: Spinal Tap it’s not. You’d do better with Murray and his band Bryan & the Haggards, who have put out three surprisingly amusing albums of instrumental Merle Haggard covers.

February 14, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Transcendent Big Band Jazz Twinbill with the Awakening Orchestra and Fabian Almazan’s Rhizome

Composer/conductor Kyle Saulnier’s mighty twenty-piece Awakening Orchestra played one of the year’s best concerts last month at Shapeshifter Lab in Gowanus, on a fantastic doublebill with pianist Fabian Almazan‘s chamber jazz group, Rhizome. Saulnier’s most obvious comparison is Darcy James Argue, considering how fearlessly relevant and politically inspired the two composers’ recent work has been. Maria Schneider is another, in terms of epic sweep and textural lustre.

Pablo Masis introduced one of Saulnier’s favorite recent tropes, a long, searching trumpet solo to open the evening’s first song, an imaginative reinvention of the Low cult favorite, Murderer, sung over balmy high reed swirls and cloudbanks of brass by Julie Hardy and Seth Fruiterman. As would be the case throughout the performance, James Shipp’s lingering vibraphone provided unsettling, twinkling contrast, in the same vein as the Claudia Quintet, while trumpeter Seneca Black prowled the perimeter with a similar judicious unease, up to a simmering coda.

Jesse Lewis’ The Robert Frost Experiment gave alro saxophonist Vito Chiavuzzo a glistening backdrop for wistful pastoralisms, drummer Jared Schonig pushing toward a steady heroic theme, guitarist Michael McAllister adding enigmatic textures. Empty Promises, the second movement of Saulnier’s This Is Not the Answer suite from the band’s 2014 album, moved deftly from lushly nocturnal ambience to a steadier disquiet, echoing Bernard Herrmann with its subtly shifting rhythms, trumpet/high reeds dichotomies and a vivid wee-hours street scene of sorts from Chiavuzzo, rising to an angst-fueled peak.

As dynamic as the early part of the set was, the high point was Saulnier’s new election year suite, a work in progress. He explained that he’d originally envisioned the project as pretty grim, but that it had become much more complicated than that (Bernie Sanders had not yet conceded on Bastille Day, the date of this show). The first of these numbers, Free Labor, Free Land, Free Men draws on the original slogan of the Republican Party. Trombonist Willem De Koch supplied the wary, circumspect introduction, the orchestra reaching toward a vast, brooding panorama, Schonig finally kicking in and then turning it over to Shipp’s opaque atmospherics and then unexpectedly anthemic, psychedelic lines. De Koch’s wounded foghorn resonance took centerstage as early promise gave way to sheer dejection, chaos and then blaring, stentorian sarcasm. Let’s not forget that the Republicans began life as abolitionists. The second part, Liberté, Égalité, Fraternité began with Aaron Kotler’s lyrical, neoromantically optimistic piano, RJ Avallone’s trumpet leading a bustling, swinging drive upward, Samuel Ryder’s bluesy tenor sax spiraling into a brief, harrowing conclusion.

Saulnier emphasized that he wanted to wind up the show on a positive note, and then led the group through a plush take of Hi-Lili, a summery chamber-pop reworking of an early 50s hit, Fruiterman on vocals. Altogether, a provocative and powerful performance by the group, which also featured saxophonists Andrew Gould, Andrew Gutauskas and Carl Maraghi; trumpeter Daniel Urness; trombonists Michael Boscarino, Matthew Musselman and Joe Barati, and bassist Nick Dunston. They return to Shapeshifter Lab to continue the suite this coming November 11 at 7:30 PM.

Almazan followed with a simlarly luminous, dynamic, more briskly paced set equally informed by neoromanticism and cutting-edge large ensemble jazz. The pianist fired off long, sinuous cascades, his balletesque leaps and bounds anchored on the low end by bassist Linda Oh, who really got a workout as the show went on. Guitarist Camila Meza added alternately misty and crystalline vocalese as well as decisive, emphatic chordal swells over the shifting sheets and tricky rhythmic pulse of a string quartet, fueled by the drums’ exuberant bluster. An anthemic, cinematic sweep gave way to brief, lively Afro-Cuban romps, a marionettish string interlude or two, allusions to Shostakovian horror and latin noir balladry. Following the Awakening Orchestra and managing not to be anticlimactic was quite the challenge, but Almazan and his crew delivered. He’s currently on West Coast tour; his next gig in that part of the world is on August 12 with support from the Aruan Ortiz Trio at the SF Jazz Center, 201 Franklin St. in San Francisco. $15 tix are available.

August 6, 2016 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Mighty, Intense Awakening Orchestra Sound the Alarm in Gowanus

Composer/conductor Kyle Saulnier’s twenty-piece Awakening Orchestra blend art-rock and classical music into their mighty big band jazz sound. They sound like no other group around: as the name implies, while they have the standard brass, reeds and rhythm section that you’d find in just about any other large jazz ensemble, Saulnier’s hefty arrangements drift toward the classical side. As a plus, a strong political awareness factors into his music. Economies of scale being what they are – they’re supported by the Midwest Composers Forum and its recording arm, Innova Records, one of the very few labels that still matter – the group rarely plays live. That’s why their upcoming show on July 14 at 7:30 PM at Shapeshifter Lab – where they’ll be continuing Saulnier’s ongoing 2016 election year-themed suite, a work in progress – is the place to be if powerful, enveloping sounds are your thing. As a bonus, eclectically tuneful pianist Fabian Almazan – who has a thing for Shostakovich – plays with his Rhizome ensemble afterward. Cover is $10.

The Awakening Orchestra’s most recent, 2014 debut release, Volume 1: This Is Not the Answer (streaming at Spotify) opens with Saulnier’s vampy, pulsing prelude and muted fanfare of sorts. From there they remind how aptly suited Radiohead songs are to mammoth orchestral interpretaiion, with a mighty version of Myxomatosis that uses the entire sonic spectrum, from towering heights to whispery lows; with a wispily mosterioso tenor sax solo from Samuel Ryder in the middle.

The epic The Words, They Fail to Come builds around the theme from the Samuel Barber Violin Concerto, an even mightier, dynamically shifting epic featuring a vividly uneasy, epic solo from baritone saxophonist Michael Gutauskas, handing off to trombonist Michael Buscarino, who finally slam-dunks it. Then the band thunders through an Olympic stadium-sized reinvention of the old jazz standard Alone Together, lit up by Michael McAllister’s searing guitar and Felipe Salles’ surrealistic tenor sax.

Saulnier’s original, Protest rises from horror atmospherics, through an insistent, powerful pulse, to a glittering Mulholland Drive noctural interlude and then a frantic coda where all hell breaks loose. The first cd ends with a bulky chamber-jazz arrangement of You Still Believe in Me, by Wilson and Asher, whoever they are.

The second disc opens with the Brahms Intermezzo Op. 118 No. 2, which Saulnier has arranged very cleverly to seem as if it’s a prototype for Angelo Badalamenti’s Twin Peaks theme. It’s not, but Saulner gets props for having the ears and ambiiton to connect the dots as far as they go, and them some. The orchestra follows with Saulnier’s four-part suite, This Is Not The Answer, opening as a suspenseful tone poem and then rising to a circular exchange of sheets of sound over the rhythm section, Rob Mosher’s warily bubbling and then hazy soprano sax at the center as the backdrop descends into the murky, creepy depths. A sardonically swinging march beat and Middle Eastern allusions from David DeJesus’ alto sax offer equal parts relevance and menace.

Then the group completely flips the script with a balmy nocturnal theme lit up by Nadje Noordhuis’ deep-sky flugelhorn. From there the band shifts into the final section, The Hypocrite and the Hope (an assessment of the Obama administration?), an enervatedly bustling neo-70s Morricone-ish crime jazz theme and variations, with funhouse-mirror James Shipp vibraphone and some psychedelically unhinged McAllister shredding, As cinematic, electric crime themes go, it ranks with Bob Belden as well as with the aforementioned Italian guys.

Saulnier has the orchestra follow with a lush take of Murderer, by Low, the dancing twin trumpets of Noordhuis and Philip Dizack  contrasting with its looming atmospherics. Kevin Fruiterman sings the album’s final cut, Hi-Lili, Hi Lo, reinventing a cheesy early 50s Dinah Shore hit as Alan Parsons Project orchestral pop. Considering how much new material the band will be unveiling, it’s uncertain if they’ll be playing any of this live, but if so, that will be a plus.

July 6, 2016 Posted by | avant garde music, classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment