Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Rapturous, Diverse, Ambitious String Jazz Sounds at Miho Hazama’s Jazz Composition Salon

Over the last fourteen months, composer/pianist Miho Hazama has programmed an ambitious series of concerts at the Jazz Gallery showcasing new works by some of the jazz world’s best big band composers. Thursday night’s program was a pretty radical shift, featuring compositions for string quartet – often bolstered by Hazama’s own piano plus percussion and alto sax – from the books of three imaginative, individualistic up-and-coming tunesmiths. One of them was Hazama herself.

Like the similarly colorful, imagistic Maria Schneider, Hazama is best known as a composer and conductor. This show was a welcome opportunity to catch her flexing her chops on the keys. The night’s opening suite by Nathan Parker Smith had some almost maddenly tricky, punchy rhythms, which she handled seamlessly. Her closing nunber, the simply titled Fugue, from her 2015 Time River album, was more chordally challenging, with a succession of cleverly intertwined voicings from the entire group

The strings – violinists Tomoko Akaboshi and Maria Im, cellist Marta Bagratuni and violist Matt Consul – bristled with uneasy close harmonies, fierce microtones and slashing, incisive, cellular motives alongside Hazama and drummer Lee Fish throughout Smith’s suite. The opening movement came across as something akin to the Sirius Quartet covering Rasputina, and came full circle at the end. In between, there were unexpectedly shimmery, atmospheric passages and cycling interludes closer to indie classical than jazz: of all the pieces on the bill, this was the most acerbic and bracingly acidic.

Ethan Helm played lyrical, kinetic, brightly spiraling alto sax over the strings and drums in his own four-part suite, inspired by his first trip to Amsterdam. In case you might be wondering, there was no reggae involved: these particular memories came across in what some people might consider to be shockingly sharp focus. Echo effects recalling light playing off the canals; a stark tableau inspired by van Gogh’s Yellow House, featuring some especially poignant violin from Im; and a restless, bustling, constantly shifting portrait of the red light district numbered among many highlights.

The most unselfconsciously gorgeous piece on the bill was the New York premiere of Hazama’s Chimera, featuring the full ensemble. True to the title, it was an Escher-like, multifaceted, interlocking web of voices, spiced with biting chromatic descents and a series of false endings. Hazama’s colors, from murky lows to starry highs, often both at once a la Gil Evans, were typical. Watching her play them against each other, whether with fiery vigor or pointillistic elegance, was a revelation..

The next big band event at the Jazz Gallery is August 9-10, with pianist Manuel Valera‘s New Cuban Express featuring Camila Meza on vocals. Sets are at 7:30 and 9:30 PM; cover is $25.

Advertisements

July 28, 2019 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Miho Hazama Reinvents Thelonious Monk

More about that Big Heart Machine show tonight, Aug 16 at the Jazz Gallery: Miho Hazama is conducting. Of all the major big band jazz artists right now who would be right for the job, Hazama is at the top of the list for this gig (along with Darcy James Argue, who produced the cinematic group’s killer debut album). Sets are at 7:30 and 9:30; cover is cheap by this venue’s standards at $15.

While Hazama’s own music is lush, wildly inventive and among the most exciting large ensemble work being written these days, she’s also in demand as an arranger and conductor. One prime example is The Monk: Live at Bimhuis, her forthcoming live album with the Metropole Orkest Big Band due to be streaming at Sunnyside Records this month. It’s a great opportunity to hear Hazama doing somebody else’s material, having what was obviously a great time in the process.

This is as close to a period piece as you’ll ever hear from her. She clearly gets the quirkiness, creepiness and also the deep blues in Monk’s music, right from the droll, pulsing opening of Thelonious, which seems to offer a nod to the similarly clever Monk interpretations of the Microscopic Septet. The group swing it with a brassy drive,Hans Vrooman getting the impossible task of playing the Monk role, and true to form he keeps things simple and proper. Trumpeter Rik Moi, tenor saxophonist Sjoerd Dijkhuizen and clarinetist Leo Janssen supply purposefully bluesy solos as the orchestra digs in and swings up to a jaunty dixieland crescendo.

Hazama’s charts here are often based on solo Monk piano recordings. Her take on Ruby My Dear begins with lingering, ambered Ellingtonian lustre, Moi contributing terse spirals as the rhythm section kicks in. Hazama’s deft, momentary exchanges of voicings throughout the ensemble are tantalizingly tasty, as is the return back to spare, sober glimmer.

Hazama’s most iconoclastic reinvention here bookends an otherwise gorgeous Friday the 13th with a cha-cha that borders on cartoonish  – not that Monk was necessarily opposed to that. Marc Scholten bubbles and leaps on clarinet, up to a nifty, suspenseful interlude centered around circling riffs by Vroomans and guitarist Peter Teihuis. Moi adds a bittersweet flugelhorn solo over a steady pulsing backdrop

The orchestra have a ball with Hazama’s Jersey noir allusions and contrasting swing blaze in Hackensack. Scholten and Teihuis go spinning through the blues, backed by big swells, brass glissandos and then a wry round robin of dixieland.

Round Midnight opens with a raptly muted moroseness, Moi’s flugelhorn carrying that legendary, brooding bolero riff over Vroomans’ judicious backing. Hazama’s cuisinart chart gives just about everybody a flickering moment in the spotlight as the voices shift like holiday lights about to go haywire.

With Hazama’s latin-inspired polyrhythms, taut close harmonies and blazing intensity, Epistrophy is the album’s big showstopper. Trombonist Louk Boudenstejn takes the long way around the launching pad, while Janssen is more low key, up to a triumphant coda. The night’s final number is a subtle, muted take of Crepuscule With Nellie, both Vroomans and the rest of the group matching Hazama’s terseness and clever polyrhythms.

It’s a triumph for the ensemble, which also includes Paul van der Feen and Max Boeree on saxes and clarinet, Ray Bruinsma, Nico Schepers and Martijn de Laat on trumpets, Jan Oosting, Jan Bastiani and Martin van den Berg on trombones, Aram Kershbergen on bass and Marcel Serierse on drums.

August 16, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Lush, Lavishly Ambitious Big Band Jazz With Miho Hazama & M-Unit at Lincoln Center

Pianist/organist/conductor Miho Hazama writes big, blustery, fearlessly energetic big band jazz themes. Her music is cosmopolitan in every sense of the word: sophisticated, individualistic and innovative. There’s no one in the world who sounds like her. She loves dynamics – despite the heft of her compositions, half the time only half of her band, or even smaller subsets of the group, are playing. She loves bright, catchy hooks, and her material is obviously a ton of fun to play: a good percentage of New York’s top big band jazz talent comprise her epic large ensemble M-Unit. They have a gig at Dizzy’s Club at Jazz at Lincoln Center on Jan 25, with sets at 7:30 and 9:30 PM. Cover is pricy, $30, but this group is worth it. It’s good to see such an interesting band getting a chance to play to a more or less captive audience.

It was a lot of fun to catch the group playing one of the series of midday shows at another midtown spot, at St. Peter’s Church on the east side, back in August. Coventional wisdom is that musicians don’t really wake up til the sun goes down, but the group was a the top of their game despite the relatively early hour. Their first number, Mr. O opened with momentary pageantry from the strings, then quickly gave way to a clustering piano theme beefed up by the ensemble, then down to a bustling, bouncing alto sax solo over the rhythm section. Hazama’s chart gave the group a chance to have fun throwing big, bright splashes of color against the sonic canvas, piano adding a solo that rose to breathless, towering heights. A yakuza gangster undercurrent added devious suspense.

They followed with an enigmatic piano theme over a syncopated clave beat, vibraphone carrying the melody over a lustrous backdrop with hints of both Russian Romanticism and cheery 70s Philly soul, hitting another suspensefully rippling piano-and-rhythm-section interlude before the piece rose again. Like her colleagues Darcy James Argue and John Hollenbeck, Hazama loves unorthox pairings of instruments: this one featured bass clarinet in tandem with violin.

The string quartet opened the number after that, then backed as a moody flugelhorn solo quickly turned into a clever Rodgers and Hart quote. As the strings rose toward the end, a sense of melancholy and longing developed, increasing as the music dipped to the strings and piano. That’s typical of how counterintitively Hazama works.

Maybe predictably, Hazama’s earliest composition on the bill followed the set’s most trad, swinging trajectory. The most ambitious was the title track to her lavishly brilliant 2012 debut album Journey to Journey, anchored by a tensely circling piano riff while individual voices shifted in innumerable directions, an uneasily dancing alto sax solo in the center of it all. The group dipped to a charming, balletesque exchange of pizzicato strings, then rose to a vintage 70s soul riff and an explosive outro.

There was plenty of other material on the program, but that’s where the recorder ran out of juice. And it was hard to hear the band intros to keep track of who was playing what in the boomy church basement space. That won’t be a problem in the plush sonics at Lincoln Center.

January 18, 2017 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , | Leave a comment