Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Epic Lynchian Jazz at Barbes Last Night

Covering music as iconic as the Twin Peaks soundtrack is playing with fire. Last night at Barbes, it was as if guitarist Tom Csatari said, “Fire walk with me!” and his nine-piece band Uncivilized could’t wait to follow him into the flames. It was less an inferno than the slowly gathering menace of a prairie burn – Angelo Badalementi’s David Lynch film scores are all about suspense and distant dread. And it was an awful lot of fun to find out just where this unpredictable crew would take those themes.

They opened with the Twin Peaks title theme. From the first few lingering notes of Csatari’s guitar, it was obvious that they weren’t going to play it completely straight-up, considering that he was already staking out territory around the famous, ominous, two-note opening riff. The genius of Badalaenti’s score is that he uses very simple ideas for his variations for all the femme fatales, wolves in sheeps’ clothing and resolute boy scout detectives. If only for a second, any of them could be pure evil. In that sense, the music perfectly matches Lynch’s esthetic.

Yet as much further out as Csatari and the band took this material, they also stuck pretty closely to the melody and the changes. This was hardly generic postbop jazz with halfhearted alllusions to the tunes and solos around the horn.

And Uncivilized are the least generic jazz group in New York. One of Csatari’s favorite devices is to swing and sway his way up to a big crescendo where the four-horn frontline can shiver and flurry, more or less – sometimes a lot less – in unison. They did that here a lot, as well as messing up the rhythm a little with a couple of what sounded like momentary free interludes over drummer Rachel Housle’s floating swing.

There are some great players in this band, but she was the biggest hit with the crowd, as dynamic as she was subtle – and she’s very subtle. Starting out with a suspenseful, muted thud with her mallets, she muted her snare with a scarf, went to sticks and then brushes, using the trebliest parts of the kit for rat-a-tat riffs and hits in all the least expected places. Can anybody say “DownBeat Critics’ Poll Rising Star, 2017?”

Bassist Nick Jozwiak bobbed and bounced like a human slinky behind his upright, playing terse, rubbery rock riffs bolstered by the occasional looming chord. Guitarist Julian Cubillos shadowed Csatari with a subtlety to rival Housle, particularly when the bandleader was playing with a slide for a hint of extra deep-woods menace. Keyboardist Dominic Mekky sent starry electric piano wafting through the mist in lieu of Badalamenti’s big-sky string synth orchestration, while the horns – flutist Tristan Cooley, alto saxophonist Levon Henry, tenor saxophonist Kyle Wilson and bass clarinetist Casey Berman – built a fluttery, gauzy sheen.

They reached toward the macabre stripper tune inside The Bookhouse Boys, played a tantalizing, single haphazardly uneasy verse of Laura  Palmer’s theme and then found unexpected grit – and a Pink Panther – in Audrey Horne’s theme.

Singer Ivy Meissner joined the band to deliver Julee Cruise’s Nightingale as well as Questions in a World of Blue, opting for soul-infused plaintiveness rather than trying to be the girl at the very bottom of the well. Meissner also sang Shelby, a noir-tinged soul ballad from her excellent debut album from last year. In between, she suddenly disappeared: it turned out that she’d taken a seat on the floor amidst the band.

Additionally, Csatari led the group through a handful of his own enigmatically careening pastoral jazz numbers, including a couple of somewhat restrained “stomps.” Most of what this band plays sounds as if it’s completely improvised, but it’s likely that most of it is actually composed, testament to how fresh Csatari’s charts are. No voicing is ever in constant, traditional harmony with the rest of the group, which enhances the suspense as much as it it opens up the floor for more interesting conversations than most bands dream of starting.

Csatari’s next gig is with Meissner on Nov 13 at 7 PM at Footlight Bar in Ridgewood. And fans of Twin Peaks and deep noir should also check out Big Lazy, who play their monthly Friday night show at Barbes on Nov 3 at 10 PM.

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October 30, 2017 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Subtle Wit, Purposeful Mess, Enigmatic Tunefulness, Epic Stagger and a Barbes Show by Guitarist Tom Csatari’s Uncivilized

The cover photo of Tom Csatari‘s new vinyl album Melted Candy shows a golden retriever sitting on the curb, looking wistfully to the side. Straight ahead, across the street, urban folk art. Somebody’s taken the time to paint “ONE DAY we will PART” on what appears to be a jerry-rigged fence surrounding a construction site. Is this all-too-familiar tableau a commentary on the seemingly endless destruction of (relatively) affordable living spaces in this city? Or is it more grimly universal? From the music, played by the guitarist’s individualistic, genre-warping large ensemble, Uncivilized, it’s more complicated than that: all four tracks are instrumentals. You might get a better idea when the group brings their uneasy, distinctively tuneful, often purposefully messy yet psychedelically intricate sound – call it heavy pastoral jazz, maybe?- to Barbes on Dec 29 at 10 PM. Their most recent show there was back in August, the guitar-and-reed-fueled group slayed and the room was packed, so you might want to get there a little early.

The purpose of the ep – streaming at Tiny Montgomery Records – was to capture both large and small configurations of the group. The sarcastically opening miniature, Stupid Gurus takes its inspiration from an exasperated Paul Mann rant about the failure of underground art and any attempt to raise awareness about it. Mann’s primary argument concerns the incompatibility of art and commerce, echoed in the cloying, mealymouthed main melody as the instruments flutter and pull away.

Escarpments coalesces slowly out of jangly, rainy-day folk-tinged guitar as drummer Rachel Housle builds enigmatic ambience with her cymbals and hardware; from there, reeds and rhythm hover and huddle against an insistent post-Velvets vamp. Csatari is a master of implied melody, teasing you to think he’s playing more notes than he actually is, and this is a killer example, his slide guitar and Levon Henry’s bass clarinet leading a steady slide down into the murk. Is this a reference to edifices nobody wants?.

ScoJaVel® is supposed to be a mashup of John Scofield, Skip James and Maurice Ravel. It has more of a lingering 80s punk jazz feel, or like Mary Halvorson in offhandedly snide mode, the reeds flickering against Csatari’s reverbtoned swipes as drummer Coleman Bartels highfives him. Nick Jozwiak’s brisk, staccato cello pairs against Tristan Cooley’s brooding flute as the band strolls purposefully behind them on the final cut, BrandCore™, a tune they could have stretched out for five times as long as they did if they’d really wanted to. But then it wouldn’t have fit onto 7” vinyl. Just as they do onstage, these players build the sonic equivalent of a stone wall that looks like it could collapse any minute despite all outward appearances but never does, because everything is too tight. But demolition is always just as much of a possibility, which is as much fun live as you could possibly imagine. Other players on these songs include Michael Sachs on sax and clarinet, Casey Berman on sax and bass clarinet, Ben Katz on bass clarinet, Nick Jost on bass, Julian Cubillos and Sean Schuster-Craig on guitars and Dominic Mekky on organ, If you’re in town over the holidays and the F train is running, Barbes would be an awfully fun place to be on the 29th.

December 17, 2016 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Tom Csatari Brings His Individualistic, Tuneful Pastorales and Improvisations to Barbes

Guitarist Tom Csatari writes some of the most distinctive and thoughtfully compelling music of any composer in New York right now. With epic film soundtrack sweep, the improvisational flair of jazz and grey-sky postrock atmosphere, his work for both large and small groups transcends genre. It’s just good, and it can get dark when the band veers away from pastoral colors. Csatari is bringing his Uncivilized large ensemble to Barbes on March 16 at 8 PM. What they do is well capsulized by the epic track Escarpments (up at Soundcloud), hypnotic post-Velvets meets 70s blaxploitation soundtrack meets chamber noir.

Csatari’s most recent album is with that ensemble and shares its name with them; there are a few numbers from it up at Bandcamp. His most recent release to come over the transom here is Outro Waltz, streaming at his music page. It’s an ambitious double album, the first comprising original compositions, the second a live set of originals and covers recorded at Manhattan Inn in Greenpoint. Csatari’s lineup on this one is only slightly less ornate: along with fellow guitarist Cam Kapoor, there’s Levon Henry on tenor sax and clarinets, Adriel Williams on violin, Ross Gallagher on bass and R.J. Miller on drums. Csatari distinguished himself from the legions of hipper-than-thou jazz guitarists out there in that he’s not afraid of melody and doesn’t feel constrained to play stereotypical jazz voicings or use complicated harmony where a simple major or minor, or a spare, gently emphatic phrase would make more of a point. Bill Frisell seems the most obvious influence, although Jimmy Giuffre and the Claudia Quintet also seems like reference points.

Guitars and percussion open the album with a gamelan-tinged, atmospheric miniature. The group follows that with New Boots, a gorgeously plaintive, trippily jangly pastorale, then Nolan, a purposeful wistful, swaying tone poem with tender sax and violin.

The epic Uncivilized playfully hints at bluegrass; Csatari’s slide guitar and the band’s tricky syncopation give it a desert rock feel transposed to the Eastern Seaboard that eventually decays into a surrealistic improvisation. The warily hazy El Morrisony opens with swirling guitars and bass clarinet over a steady pulsing shuffle spiced with stark violin.

Rawlings II veers between twinkling deep space pulsar sonics and a wistful folk theme, deconstructed. Blues for Robbie mashes up enigmatic 80s indie jangle, pensive Americana and an artfully disguised, Doorsy roadhouse groove. After Plastic shifts elegantly between a loping C&W-inspired theme and a loosely pulsing cinematic vamp. Likewise, Wharfs & Drifts, between angst-fueled guitars and jauntily shuffling violin in tandem with the rhythm section.

With Legion, the band builds fluttery unease over a slow spacerock vamp that the guitars eventually take waltzing. The last of the studio tracks is Sisters, slowly coalescing to a clustering, tensely bubbling interlude and then up toward rock anthemics before descending gracefully.

The live album opens with the band making a long, gospel-infused intro of sorts out of Lee Morgan’s Search for the New Land, gently decaying into lingering atmospherics. Thelonious Monk’s Light Blue shuffles coyly between swing and offcenter deconstruction, while Elliott Smith’s Speed Trials reverts to a wistful, swaying nocturnal vein, with an indian summer tenor sax solo by Kyle Wilson at the center. The first original here, Curationisms segues out of it with a return to jangly but purposefully strolling contemplation.

Kingsnoth blends lush sweep and amiably ambling interplay that hints at dixieland but doesn’t go there. Chris Weisman’s The Winning Blues again looks back toward Frisell, in lingering anthemic mode: by the end, it’s a straight-up rock song. Miller, who’s been giving all this a gently swaying groove, finally gets to cut loose as Water Park Rodeo slowly comes together out of starlit guitars to an ominously shivery theme and then an unexpected detour toward 70s psychedelic soul. Call this what you want – jazz, rock, film score – it’s music to get lost in.

March 13, 2016 Posted by | jazz, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment