Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Tamar Korn Thinks on Her Feet and Enchants the Crowd at Barbes

Memorial Day at Barbes, singer Tamar Korn addressed the audience cautiously. “Brain Cloud’s not here,” she explained. “This is my situation.” The well-loved western swing band the petite, irrepressible singer fronts will be back at their usual Monday night residency on June 5 at 7 PM for those lucky enough to be able to get out of work in time to get to Park Slope. Lots do – the back room always fills up.

Despite the holiday, there was a good crowd for this one, and everybody stayed. “I call this project Kornucopia,” Korn grinned, and it’s an apt band name. Korn is both someone who everyone wants to play with, and who basically ends up doing that anyway – that’s the state of swing jazz in New York in 2017. This was a special treat, a chance to watch her think on her feet and run through a lot of material that she rarely gets the chance to, backed by an excellent pickup band including Rob Hecht on violin, Mark Lopeman on tenor sax and clarinet, Rob Adkins on bass and a California pal, in town for the weekend, on piano.

The set was more obscurities than standards. The high point might have been an early Billie Holiday  number, One Never Knows, Does One. Korn delivered it eyes closed, wistful and pensive, opening a door into another world, letting that world slip in, and the audience slip out into it. Korn’s high soprano is instantly recognizable, with a little mist and a little smoke – jaunty wit notwithstanding, her not-so-secret weapon is nuance.

Another memorable moment, among many, was when Korn sang Abi Gezunt, the famous Yiddish swing anthem. It’s hard to translate – the implication is “at least we’re not dead.” Songs by embattled minorities – whether Mexicans under the conquistadors or now Trump, American blacks, or European Jews – tend to be ripe with irony and signification, and this was a prime example. Metropolitan Klezmer rips the hell out of it – Korn’s version gave voice to its ironies and bittersweetness. She sang the last verse in English to drive those emotions home.

The group ran through a couple of standards as well – was Old Devil Moon one of them? Maybe. Korn is unsurpassed at vocalizing the sound of various instruments. Trombone is a specialty, but this particular evening she was in a low-key trumpet mood (forget about that rrt-rrt-rrt kazoo sound – anybody can do that!). Lopeman spun wafting lyrical sax figures and jaunty, sometimes dixieland-flavored clarinet lines, Hecht adding stark blues and atmospherics, Adkins thinking on his feet as much as Korn with his purposeful, horn-like solos. Elegant, low-key rolls and tumbles and occasional departures toward barrelhouse or ragtime from the piano completed the picture. This is the kind of magic that you might accidentally stumble into over a holiday weekend at Barbes – whose Indiegogo campaign isn’t over yet, and is only about 70% funded at this point. You can help ensure that this Brooklyn treasure sticks around long enough to outlast both the Trump and Pence administrations.

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

Catherine Russell Brings Back the Blues and Jazz Roots of Classic Soul

[republished, more or less, from Lucid Culture’s more rock-oriented sister blog New York Music Daily]

Catherine Russell is the kind of jazz luminary you might discover at three in the morning,  belting her heart out with an obscure funk band who later change their name and style and become a huge draw on the indie rock circuit. In the fourteen years since that initial sighting – true story -she’s become one of the biggest names in oldtime swing jazz. Her previous album, Strictly Romancin’, was a Louis Armstrong tribute (Russell’s multi-instrumentalist dad Luis played in Armstrong’s band: the apple didn’t fall far). Her latest album, Bring It Back, goes deeper into the blues, in a Duke Ellington way.Harmonia Mundi gets credit for releasing the album, which is up at Spotify.

The band lineup is pretty much the same as the previous album: musical director Matt Munisteri on guitar and other fretted instruments; Mark Shane on piano; Lee Hudson on bass; Mark McClean on drums; Glenn Patscha on organ; Jon-Erik Kellso on trumpet; Mark Lopeman on baritone sax; John Allred on trombone; and Dan Block and Andy Farber on reeds. Other than just the pure chops they bring to the songs, the way the both Russell and the band shift direction depending on the underlying emotional content is what distinguishes them from the legions of shi-shi restaurant bands and cruise ship combos who try to make a go of this oldtime stuff. The arrangements may be refined to the nth degree, but the group’s approach to the songs’ heartbreak and intensity (and sometimes just plain good fun) is disarmingly direct.

The album opens with the catchy midtempo title track, Russell’s urbane sophistication balanced way out on a limb by Munisteri’s unexpectedly feral, wildly string-bending guitar, confronting the angst that the vocals refuse to give in to. “High” is the operative word in Shooting High, with its elegant handoffs from one instrument to the next. The steady, shady I Let a Song Go Out of My Heart matches muted trumpet and somewhat furtive sax to the wistfulness and resignation in Russell’s understatedly torchy delivery. Then they pick up the pace with the jaunty, dixieland-flavored You Got to Swing and Sway.

The band does Aged and Mellow as an oldschool soul ballad in the same vein as Willie Nelson’s Night Life – Russell doesn’t let on how the story’s actually being told by a gold-digger. They keep the high spirits going with the nonchalantly triumphant, shuffling Darktown Strutters’ Ball and then hit a peak with a big, brassy arrangement of Lucille (not the B.B. King song but a previously unreleased, exuberant number by Russell’s dad).

Russell’s most pillowy vocal here is You’ve Got Me Under Your Thumb, set to a ragtime-tinged piano-and-guitar backdrop. After the Lights Go Down, a gorgeous blend of oldschool soul and blues, sets Russell’s confidently conspiratorial vocals against wickedly shivery guitar and organ. I’m Sticking With You Baby, a litany of prewar aphorisms, has more invigorating, bluesy organ, Russell trading bars with the band as they take it all the way up at the end.

The minor-key, irony-drenched, ragtime-inflected Strange As It Seems makes a stark contrast. The jump blues Public Melody Number One picks up the pace again, with an absolutely surreal lyric:

Frankenstein, a bundle of joy
Jesse James is a teacher’s pet
A gatling gun compared to
Shots from a hot corvette

The album ends with an absolutely riveting, unexpectedly energetic version of the old Billie Holiday standard I Cover the Waterfront, rising and falling with an angst that dignifies the neighborhood hooker and her ache for the guy who’s gone away across the ocean, no doubt for good. On one level, this is a trip back in time; on another, a lot of the playing here is more eclectic than what your typical studio band would try to pull off in, say, 1934.

May 14, 2014 Posted by | blues music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment