Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Dafnis Prieto Brings His Lush, Gorgeous Latin Big Band Sounds to the Jazz Standard Next Month

Over the course of his career, drummer Dafnis Prieto has immersed himself in an enormous number of influences. So it’s no surprise that the new album by his explosive Big Band, Back to the Sunset – streaming at Spotify – is a salute to every latin jazz artist he’s drawn inspiration from, sometimes three composers in a single song! That mammoth ambition pays mighty dividends throughout the album’s nine epic tracks. Prieto’s compositions are very democratic, with tons of animated call-and-response and counterpoint, and everybody in the band gets time in the spotlight. This seventeen-piece crew are playing a short stand at the Jazz Standard June 6-10, with sets at 7:30 and 9:30 PM; cover is $30.

Trumpeter Brian Lynch takes centerstage on and off, with and without a mute, in the blazing opening number, Una Vez Más. Pianist Manuel Valera tumbles and then delivers a contrastingly elegant solo; the rest of the trumpet line (Mike Rodríguez, Nathan Eklund, Alex Sipiagin and Josh Deutsch) build a conflagration over a slinky Afro-Cuban groove; the band storm up to a catchy four-chord riff and a blast of a coda. Prieto dedicates all this to Lynch, along with Tito Puente and Eddie Palmieri.

Is The Sooner the Better a mashup of bossa nova and Fort Apache flavor, since it’s a shout-out to Jerry Gonzalez and Egberto GIsmonti? With its rising exchanges throughout the band and relentlessly suspenseful pulse, it’s closer to the Brazilian composer’s most broodingly cinematic work. Baritone saxophonist Chris Cheek gets a tantalizingly brief, gruff solo, tenor saxophonist Peter Apfelbaum keeps it dark but gets more expansive, then piano and brass carry it away,

Cheek takes a wryly jovial solo to open Out of the Bone, whidh begins as a stunning, slashing mashup of Ethiopiques and Afro-Cuban styles. Massed brass carries the tune into more symphonic territory, then a droll, chattering interlude, and finally a round of trombones: Tim Albright, Alan Ferber, Jacob Garchik and Jeff Nelson.

Interestingly, the album’s gorgeously lingering, lavish title track is dedicated to Andrew Hill and Henry Threadgill, who takes a wryly spacious, peek-a-boo cameo on alto sax. The album’s longest number, Danzonish Potpourri, shifts suddenly from bluesy gravitas, to lush sweep, hushed piano-based glimmer and then a towering bolero spiced with shivery horn accents. How do they end this beast of a tune? With a coy Apfelbaum melodica solo.

Guest altoist Steve Coleman bubbles brightly, then hands off to trumpeter Nathan Eklund in Song for Chico, a cheery Veracruz-flavored number, much of which sounds like a long, joyous outro. Individual voices leap out from every corner of the sonic picture in the triumphantly shuffling Prelude Para Rosa, which like so many other tracks here morphs unexpectedly, in this case to a moody cha-cha with a spiraling Román Filiú alto sax solo.

The no-nonsense, bustling Two For One has similarly vast scattershot voicings, a smoky Apfelbaum solo followed by Valera’s scrambling attack and then a wry wind-down from Prieto and multi-percussionist Roberto Quintero. The album’s final number is the aptly titled The Triumphant Journey, dedicated to Dizzy Gillespie and Chano Pozo, with fiery cascades of Ethiopian riffage and a sudden shift to trumpet-fueled clave.

What a blast this album must have been to make, for a lineup that also includes trumpeters Mike Rodríguez, Alex Sipiagin and Josh Deutsch; alto saxophonist Michael Thomas and bassist Ricky Rodríguez.

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May 26, 2018 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Lavishly Fun Camaraderie with Peter Apfelbaum’s New York Hieroglyphics at the Stone

Sunday night Peter Apfelbaum wrapped up a weeklong stand at the Stone with a sprawling, serpentine, unselfconsciously joyous (and surprisingly tight) performance by his long-running large ensemble the New York Hieroglyphics. It’s a fair guess that crowds outside of New York would pay obscenely to see such a pantheonic lineup, which also comprised trumpeter Steven Bernstein, trombonists Josh Roseman and Natalie Cressman, violinist Charlie Burnham. guitarist Will Bernard, tenor saxophonist Tony Jones, multi-reedman Norbert Stachel, bassist Brad Jones, drummer JT Lewis and singer Abdoulaye Diabate.

They played with the cameraderie of a group that’s existed, if on and off and bicoastally, for forty years, dating from Apfelbaum’s teenage years at UC/Berkeley. They’ve come a long way since the days when they had to rehearse in a local park since they “Couldn’t play if there were adults around,” as Apfelbaum wryly recounted: they were a lot further out back then.

Here the improvisation was more focused on solos and pairs than mass squall. In that context, Bernstein and Roseman played with a resonant restraint, eschewing the ripsnorting attack they could have pursued with this group in past decades. Violinist Charlie Burnham took a long, starkly emphatic wah-wah solo; bass and drums shifted the night’s final number further and further from Malian duskcore slink toward reggae but never actually landed in Kingston as they’d been hinting. Cressman – daughter of the group’s original trombonist, Jeff Cressman – played a clinic in slicing and dicing judicious blues phrases from the top to the bottom of the scale, and later sang a pretty straight-up oldschool 60s-style version of the Prince ballad Sometimes It Snows in April.

Apfelbaum began the set with one of his signature uneasy, acerbic piano figures, later switching to tenor sax as the composition shifted from an emphatically moody, Darcy James Argue-esque theme to something akin to Argue’s big band tackling the kind of Indian tunes that the Grateful Dead were pilfering in the 1960s. A big, bright, brassy false ending was the high point, echoed at the end of the show with a cantabile lustre that left the crowd wondering where the choir was hidden.

Apfelbaum opened that one solo on melodica before handing off its jauntily circling Tuareg rock riffage to Bernard, who turned in a performance worthy of Tinariwen: he really ha a feel for that stuff. In his impassioned tenor Diabate sang the lyric about a genie who hasn’t arrived yet, joined in a celebratory, seemingly impromptu singalong by the rest of the band.

In between, Apfelbaum led the group from tensely syncopated Afro-Cuban piano verses to expansive vistas that finally straightened out closer to Havana than Senegal. Much of this material, he said, is scheduled to be recorded soon: from this performance, it’s definitely ready.

August 2, 2017 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Improvising a Film Noir

Karl Berger’s Improvisers Orchestra’s performance Thursday night at El Taller Latinoamericano was a Halloween show of sorts, a feast of lush, slowly crescendoing, apprehensive sonics punctuated by bracing cameos from some of New York’s most engaging improvisers. Since 1972, when Berger fouunded the Creative Music Foundation upstate, pretty much everyone who’s anyone in jazz improvisation has had some assocation with him. This tantalizingly brief performance, by their standards anyway (clocking in at just under an hour) was typical in terms of consistent magic and intuitive interplay. LIke the Sam Rivers Trio reunion album recently reviewed here, it was amazing how cohesive and seemingly through-composed the performance seemed despite the group having only batted around some ideas for maybe an hour beforehand. It was a film noir for the ears.

In their own unselfconscious way, this ensemble is one of the world’s most exciting in any style of music, when they’re on – which they almost invariably are. Lately, the Stone has been their New York home, so it was good to see them in somewhat less confining surroundings (with 20 members, that doesn’t leave much room for a crowd at the Avenue C space). If you’ve ever wondered where improvisational conductors like Greg Tate and Butch Morris got their inspiration, look no further than Berger, who had plenty of fun methodically pulling solos, and motifs, and an endless series of crescendos out of the orchestra. As it peaked, this show could have been the Gil Evans Orchestra jamming out something from the legendary 1962 Individualism album. or a late 50s John Barry score in a particularly harrowing moment.

The theme of this show was tense, close harmonies, deftly balanced between highs and lows, reeds and strings. Berger smartly employed Hollis Headrick’s bongos, echoing ominously throughout the room, to amp up the suspense factor. Intense drummer/percussionist John Pietaro utilized the vibraphone set up at the back of his kick drum for extra melodic bite, while drummer Lou Grassi took command of swing interludes and blustery cymbal ambience. Bassist Lisa Dowling played the entirety of the show with a bow, an apt decision since it kept her minimalist menace audible even as the music rose to epic heights. Tenor saxophonist Peter Apfelbaum and vocalist/poet Ingrid Sertso took charge of continuity between segments; strange as it may seem to rely on spontaneous spoken word to maintain a groove, Sertso pulled it off with a surreal nonchalance. “Murder is murder is murder,” she intoned softly at one point.

A flurry of teeth-gnashing, tremolo-picked mandolin, a gracefully sepulchral downward swoop from Sama Nagano’s violin, a richly plaintive soprano sax interlude from Catherine Sikora, frenetically aghast slashes from the baritone saxophone, haunting Ken Ya Kawaguchi shakuhachi and alternately tuneful and droll trumpet from Thomas Heberer all followed in turn over the wary ambience behind them. Berger finally wound up the set by introducing a relatively obscure Ellington theme with his melodica, which the ensemble was quick to pick up, yet held back from completely embracing, lending it the same rich unease that had permeated the first forty-five minutes of the show. As large-scale improvisation goes, it’s hard to think of anything as gripping and altogether fascinating to watch as this was. Berger and the rest of the crew will be at Shapeshifter Lab in Gowanus sometimes in November; watch this space. And the Creative Music Foundation has an archive of performances dating from the 70s, featuring artists like Rivers and Morris, which they plan to share with the public at some future date.

October 22, 2012 Posted by | avant garde music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment