Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Dynamic, Intimate Live Album and a Birdland Gig From Jazz Piano and Vocal Siren Champian Fulton

At this point in jazz history,  Champian Fulton is the best piano-playing jazz singer, and the best pianist who happens to be a singer. With her blend of precision and flair on the keys and her nuanced approach to the mic, she’s been unstoppable lately. Her career validates the old proverb that you get good at what you do: somehow, in between gigs, she manages to find the time to make albums. And she likes to flip the script: she’s done everything from reinventing Dinah Washington – a major influence – to a devious all-instrumental piano trio record, and now her latest release, Dream a Little, an intimate but often fiery live set with saxophonist Cory Weeds. The new record, a mix of standards, a couple of rarities and an original is streaming at Bandcamp. Fulton’s next New York gig is a two-night stand at Birdland on Oct 30-31, with sets at 7 and 10 PM; you can get in for $20.

Weeds opens the first track, Dream a Little Dream, with a balmy solo before Fulton’s piano brings in some James P. Johnson gravitas, a contrast that lingers through an unexpectedly restrained, even suspenseful take of a song that Mama Cass Elliott made epic drama out of.

Weeds does the flying – gently – in Fly Me to the Moon, the two folllowing the same dynamic, both Fulton’s piano and voice infused with calm take-charge attitude. Strap on that seat belt, buster!

By contrast, Lullaby For Art  is a starkly pulsing, latin-tinged instrumental theme with bitingly bluesy solos from both musicians. Fulton’s clenched-teeth intensity before the third verse is one of the album’s most stunning moments.

The duo’s take of Darn That Dream has a wistful, expansive solo first verse from Fulton, Weeds fluttering among the clouds, a dynamic they mirror with a steady, subtly stride-influenced version of Pennies From Heaven. Then they pick up the pace with Once I Had a Secret Love, Weeds’ precise chromatic volleys setting the tone.

Fulton’s slowly swaying interpretation of I Thought About You leaves no doubt that it’s about being haunted by a memory. As he does throughout the record, Weeds plays tersely, developing melodic themes rather than blowing endless, too-cool-for-school practice patterns like too many other reed players do.

The two make low-key, striding swing out of Tangerine: Fulton likes to use her low lefthand a lot, and that device works particularly well here, grounding Weeds’ cheery lines. I’d Give a Dollar For a Dime – Joe Williams’ 1930 shout-out to what seemed already had become jukebox nostalgia – dips and weaves with a dreamy charm. They close the record with a coy jump blues take based on Eddie Lockjaw Davis’ version of Save Your Love For Me

While this is first and foremost a collection of bittersweet love ballads, it’s also uproariously funny when least expected: Fulton has a subtle and often sly sense of humor, particularly on the keys. As if we need yet more proof that more artists should be making live records, this is it.

October 24, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Epically Relevant Tunesmithing and a Jazz Standard Gig From Fabian Almazan’s Trio

Fabian Almazan is one of the most brilliantly and tunefully eclectic pianists in any style of music. His Alcanza Suite is one of the most epic albums released in this century, as ambitious in scope as, say, Miles Davis’ Miles Ahead. It doesn’t sound anything like Miles Ahead, but Almazan’s lavish orchestration is just as radical as Gil Evans’ charts were at the time. At this point, we can call the album one of the great underrated masterpieces of the past couple of decades – hopefully the critics, or what’s left of them, will catch up with it someday.

But Almazan doesn’t limit himself to orchestral epics. His latest one, This Land Abounds With Life – streaming at Bandcamp – is a mighty trio release with his brilliant bassist wife Linda May Han Oh and drummer Henry Cole. They’re playing the Jazz Standard on August 27 and 28, with sets at 7:30 and 9:30 PM; cover is $30.

The opening track, Benjamin shifts from a punishing, pummeling, syncopated scramble to a fleeting reggae interlude…and back up again. It wouldn’t be ridiculous to call this the missing link between Gyorgy Ligeti and Orrin Evans.

Keening with delicately oscillating electronic touches, Almazan’s palette balances murk and dappled sunlight in the allusively gorgeous, thirteen-minute Everglades, with a broodingly emphatic solo from Oh, his piano chords rising with a crushing intensity. Is this about fighting alligators…or alligators fighting to survive?

The Poets has a wry spoken-word intro, lavishly circling chords that Almazan takes for a waltz, and Cuban percussion shuffling incisively in the background: McCoy Tyner’s 70s work seems to be an influence. Ella is more low-key, a return to the album’s opening mix of lustre and algebraic minimalism. Cole’s dirgey Middle Eastern boom and Oh’s sober, staggered pulse anchor the moody modalities of Songs of the Forgotten, with a viciously sarcastic sample springing up to drive its political message home.

The Nomads is all about contrasts, blippy syncopation versus lingering gravitas; it warms considerably as the trio follow a long crescendo. Reflecting-pool glimmer moves in and envelops the tone poem Jaula, until Almazan picks up the pace with equally colorful neoromantic cascades. 

The practically ten-minute Bola de Nieve (Snowball) is the album’s high point, Oh’s bows somberly beneath a stark string trio – Megan Gould on violin, Karen Waltuch on viola and Eleanor Norton on cello – while the bandleader’s achingly lyrical. kinetic, Piazzollaiano melodic shifts kick in with a stately, balletesque pulse. It might be the most unselfconsciously beautiful song of the year.

Just when Folklorism seems like it’ll be the album’s most lighthearted track, Almazan starts flinging icy, Messiaenic close harmonies into the mix: the thematic shifts are disorienting, but they leave a mark. Likewise, Uncle Tio (a jokey title: “tio” is Spanish for “uncle”) moves suddenly from a hypnotic, stairstepping tangent to more pointillistic variations, Oh dancing cautiously, centerstage. Along with the the coyly spring-loaded Pet Steps Sitters Theme Song, it’s the album’s most amusing cut.

Almazan winds it up with the warmly familiar, relatively fragmentary (three minute, ha) solo ballad Music on My Mind. Classic album comparison: McCoy Tyner’s Sahara. This one’s that good.

August 20, 2019 Posted by | jazz, Music, review | , , , , , , , , , , | Leave a comment

A Rare Fred Hersch Solo NYC Gig Off His Usual Turf

Lyrical jazz piano icon Fred Hersch is playing solo tonight, March 3 at 7:30 at Mezzrow. Huh? Mr. Village Vanguard at little Mezzrow? It’s happening. They want $20 at the door and you should get there early if you want to get intimate. It’s going to be like getting a seat right on top of the piano at his usual haunt around the corner.

Hersch’s latest solo live album, Open Book – streaming at Spotify – is good way to get a handle on what he might be up to. Other than Satoko Fujii, nobody else has mastered the art of turning live performances into consistently high quality albums as much  as Hersch has. What’s notable about this one, recorded on tour in South Korea, is that it’s one of his most adventurous records.

He opens it on a matter-of-fact yet searching note with the ballad The Orb: it’s wistful, and catchy and he takes his time with it. Benny Golson’s Whisper Not has a ratcheting drive that very subtly shifts into a glittery dance. Hersch may have one of the few great long-running trios in jazz, with bassist John Hebert and drummer Eric McPherson, but he doesn’t need them here, adding unexpected grit with his lefthand as the musical ballet goes on overhead.

By contrast, he really slows down Jobim’s Zingaro, from the unexpected carnivalesque menace at the beginning, through a hint of a fugue, a steady music box-like processional and finally a full-on embrace of the central ballad theme.

The centerpiece is practically twenty minutes of free improvisation, Through the Forest. From eerie, more or less steady Monk-ish music-box twinkle to a series of coda-less crescendos. waiting for Godot has seldom been this entertaining. A similarly matter-of-fact, meticulous, pensive take of Hersch’s ballad Plainsong makes a good segue.

Hersch is one of the alltime great interpreters of Thelonious Monk, so it’s no surprise that a jaunty cover of Eronel is on this record. Hersch closes with something that would disqualify lesser artists from getting attention here: with millions and millions of other songs just screaming out to be covered, why scrape the bottom of the barrel for something by a “piano man” more likely to be skewered in a Mostly Other People Do the Killing parody?

March 3, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , | Leave a comment

Another Majestic, Darkly Eclectic Album and a Joe’s Pub Show by Pianist Guy Mintus

Pianist Guy Mintus’ 2017 album A Home In Between ranked high on the list of that year’s best releases here. His latest one, Connecting the Dots, with his trio, bassist Dan Pappalardo and drummer Philippe Lemm, is streaming at Soundcloud. It’s every bit as eclectic, and even more epic and playful. His next gig is on Feb 28 at 7 PM at Joe’s Pub with haunting, rapturous Palestinian singer Mira Awad; cover is $25.

That show says a lot about where he’s coming from: he’s also transcribed a lot of classic Moroccan gnawa music for piano. The new album’s first track is Koan, which in many ways is Mintus’ resume. It’s a clever, shapeshifting number that begins as a cinematic title theme of sorts, then shifts back and forth between a gospel/blues waltz and neoromantic grandeur punctuated by ominous, carnivalesque syncopation.

Although Little Italy also gets a bass-and-drums intro that offers even more of a hint of suspense, Mintus digs into this genial nocturne with jaunty flourishes offset with more of the glittering gravitas that’s become his signature sound – and finally as much of a pianistic explosion as anybody’s recorded in the last several years. Mintus must have had an especially epic San Genarro festival experience at some point.

Pappalardo and Mintus joust amiably as the distantly Indian-flavored Samarkand gets underway, then suddenly they’re in waltzing neoromantic territory again. For awhile, it’s more spare and kinetic than most of the other tracks…but then Mintus brings in the storm.

The lone number from the standard jazz repertoire here, Horace Silver’s Yeah has strong echoes of Monk as well as Frank Carlberg in particular phantasmagorical mode. Hunt Music, a setting of a Rumi text as a brief, nocturnal tone poem, features guest vocals from chanteuse Sivan Arbel. The trio dance through the folksy intro to Dalb, Pappalardo adding a sott-voce solo: it’s the album’s most lighthearted number.

The elegantly incisive Asfour brings to mind the groundbreaking work of Lebanese pianist Tarek Yamani: this dusky gem is over too soon. Nothing New Under the Sun, a deviously Monkish blues, has a subtly altered swing. Mintus closes the album with two tunes drawing on his Israeli heritage. The first, Avenu Malkelnu is a tone poem with a muted, somber opening centered around guest Dave Liebman’s brooding alto sax solo; then Mintus builds a thorny thicket around it, his crushing lefthand attack driving it home. Mintus sing the second, Haperach Begani, a catchy, anthemic, chromatically edgy bounce from the catalog of the late Israeli Yemenite singer, Zohar Argov.

February 22, 2019 Posted by | jazz, middle eastern music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Aruan Ortiz Brings His Lavish, Ambitious, Relevant New Material to the West Village

Pianist Aruan Ortiz gets plenty of props for his chops, but he deserves more appreciation for how eclectic he is. Like Vijay Iyer, he’s ambitious enough to play an entire set on microtonal piano (in Ortiz’s case, with Amir ElSaffar’s eerily majestic large ensemble). Like most of the current crop of expat Cuban pianists, the depth of his classical training informs his knack for a catchy tune, as well as his orchestral ambitions.

There will be a lot of those at his show Dec 6 at 7:30 PM at Greenwich House Music School. The first set features a duet with a unnamed special guest (wild guess: Paquito D’Rivera). The second features two new chamber-jazz pieces: Living in the Midst of a Twisted Globe, performed by violinist Mary Rowell, cellist Jeffrey Zeigler and pianist Geoffrey Burleson; and Ogguere (When the Soul of the Earth Dances Around Spectral Motions), played by a brass quintet including Daniel Blankinship and Nate Wooley (trumpets), Ryan Keberle (trombone), Vince Chancey (French horn) and José Dávil (tuba). Cover is $25/$20 stud., which hints that the special guest might be really famous.

Ortiz’ album Orbiting, streaming at his music page, offers a good look at his diverse approach to composition as well as his formidable technique. The performances are expansive; everybody in the band gets plenty of opportunity to contribute, and the material doesn’t often fit any kind of easy A-B-C pattern or facsimile thereof.

The first number, Ginga Carioca begins with a brain-warping duel between Ortiz’s left and right hand, in completely different time signatures, finally coalescing as Rashaan Carter and Eric McPherson’s elegant bass and drums come in, guitarist David Gilmore taking centerstage with a low-key but punchy, tropically-inflected solo. Lingering piano belltones anchor a bubbly, bustling bass solo and then recede; finally a steady clave kicks in amid the rhythmic jousting.

The title track opens with a trickily syncopated, aptly circling theme, then edges toward a gritty waltz on the jagged wings of the guitar. From there, a brief Afro-Cuban interlude and then a darkly insistent coda complete the picture. From a catchy, rubato build through the opening riff and dancing solo bass, The Heir follows a long build to a wary, syncopated, distorted Gilmore solo, enigmatically spiraling chromatic piano and finally a towering McCoy Tyner-esque coda

Koko morphs from a squirrelly intro to a brisk swing shuffle with wry, jaunty conversation between Ortiz and Gilmore. Numbers, a tone poem of sorts, alternates between majesty and murky menace: it wouldn’t be out of place in the early Herbie Hancock catalog.

Held together with spacious, lingering block chords from Ortiz over a scrambling backdrop, Wru is a launching pad for a long Gilmore solo that finally cedes to the bandleader’s dark resonance and hypnotically clustering attack. After a long, majestic solo Ortiz intro, Green City shifts between clave gravitas, hard-hitting urban bustle and more darkly subdued territory,

The album concludes with the most funereal take of Alone Together you could imagine: flickering brushwork, mournful chords and surreal volume-knob guitar move slowly outward to bolero hints, a judicious, spare bass solo and takes your breath away when the band come full circle. This is very serious, tuneful stuff: give it a spin before the Greenwich House show if you’re going.

December 4, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Gonzo Pianist Dred Scott Grows Up?

Over the past two decades, pianist Dred Scott has earned a rabid cult following for his gonzo, noir-tinged style. His long-running weekly midnight residency at Rockwood Music Hall with his trio – bassist Ben Rubin and drummer Diego Voglino – is legendary, and was immortalized on a live album in 2007. Scott further enhanced his reputation for darkly surreal erudition as a member of pyrotechnic art-song chanteuse Carol Lipnik’s band. His latest album, Dred Scott Rides Alone – streaming at Bandcamp – is a departure in that Scott plays all the instruments including bass and drums, and more than competently. There’s also more solidity here than in his relentlessly restless past. He’s playing the album release show tomorrow night, Oct 13 at 8:30 PM at the third stage at the Rockwood with his trio; cover is $12

The new album is Scott’s most concise, straightforward and arguably tuneful release to date. The shuffling first track, Coal Creek Road is a gospel-tinged, animatedly crescendoing pastoral theme: imagine Bruce Hornsby playing in Steely Dan instead of the Dead. With the second number, Wonder, Scott pairs glistening variations on an impressionistic theme with pointillistic bass: the flickering cymbal work as the piece falls away, down to a tersely dancing piano solo, is choice, hardly what you’d expect from a guy whose usual axe is the 88s. The crescendo up from there is even more striking.

Gateway – a St. Louis shout-out, maybe? – has an easygoing second-line rhythm underpinning variations on a catchy gospel-infused riff. Likewise, Flying Bighorn has a hard-hitting gleam over a steady vamp, shifting in and out of straight-up swing as Scott navigates further from the center, finally returning to a circling, gracefully tumbling piano-drum outro.

Remember PN has a verdant, Pat Metheny-ish early-spring chill, Scott shifting from spare, stately chords to an altered jazz waltz, a tersely punchy bass solo and then a remarkably spare one on the piano where he finally rises to cluster and lustre.

Wistful Waitsian blues piano variations and airy string synth textures permeate Consolations, over a steady midtempo sway that grows funkier and bluesier. It’s closer to the wry sensibility Scott has made a name for himself with over the years.

Wild Turkeys is classic, rollocking Scott, a jubilantly haphazard New Orleans shuffle tune: again, he showcases his prowess as deviously capable drummer and bassist as well as on the keys. The album winds up with Goodbye America, a bittersweetly workmanlike, saturnine Donald Fagen-ish stroll that was no doubt inspired by recent events. Throughout his Rockwood residency, Scott really used to pack ‘em in, so if you’re going to the release show, it couldn’t hurt to get there early. Hint: beat the lines and use the Orchard Street entrance.

October 12, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , | Leave a comment

An Epic, Darkly Profound New Solo Live Album and a Rare Brooklyn Gig by Iconic Pianist Satoko Fujii

Pianist Satoko Fujii’s epic new solo live album Invisible Hand- streaming at Spotify – is dark and dead serious. She improvises as purposefully and tunefully as anyone who ever lived. If historical accounts are accurate, that puts her on the level of Bach and Schubert, along with Monk, and Brubeck, and Ellington. Those comparisons are deliberate – the astonishingly prolific Fujii’s work combines brooding classical intensity with in-the-moment jazz fearlessness. Her latest project is to release an album a month this year, a promise she’s fulfilled so far. She’s making one of her increasingly rare New York appearances this Aug 29 at 8:30 PM at I-Beam, leading a trio with husband Natsuki Tamura on trumpet and Yoshi Shutto on drums. Cover is $15; be aware that she routinely sells out this venue.

The new album is the debut release on Cortez Records, a new label that’s just as impromptu as Fujii’s music can be. Teruhiko Ito, proprietor of the intimate venue Cortez in the small city of Mito, Japan, essentially launched it to release Fujii’s epic solo concert there from the winter of 2016. In the midst of a snowstorm, a crowd nevertheless came out and responded rapturously.

“Recently I have been hearing that people everywhere in the world are losing interest in music and culture, and the situation is getting worse and worse,” Fujii relates in the liner notes.. “However, around Cortez, there are no signs of that.”

Here are a few reasons why. While Fujii has made scores of albums, almost all of them are with other players. Surprisingly, while perhaps best known as an improviser, she virtually never plays a full set of solo improvisation. The first of this double-cd collection captures only the fourth time in a 25-plus year career that she’s done that.

Which is a paradox, for many reasons, not the least because her improvisation here can sound meticulously composed, while the compositions are spiked with off-the-cuff flourishes and some occasionally pretty wild displays of extended technique. Fujii opened that wintry night with a piece titled Thought, rising through frequent allusions to Satie’s Gymnopedie No. 1, to an intense but judicious crescendo and an ominously quiet, chromatically bristling conclusion. From there she did some scampering and some leapfrogging, but also built a methodical thematic variation and a crashing coda

The album’s towering, thirteen-minute title cut has spare, somber, low-mid register melody and some absolutely macabre moments, set to a autoharp-like rainy-day wash of sound that Fujii resonates on the strings inside the piano. In almost sixteen minutes of Floating, she creates a mystical ambience with spare, serioso phrasing and then a muted temple bell-like melody, again played with inside the piano. It sounds practically like a koto.

Fujii’s shift toward a steady anthemic drive that’s practically a stadium rock ballad is striking – how much is she messing with the audience, and how much just with herself? Yet, she ends it with her signature gravitas. She concludes the set with Hayase, working a rather grimly percussive raga-like melody against a central tone.

The second cd opens with a somber single chord, then Fujii makes her way into the ineluctably uneasy, spacious I Know You Don’t Know, leaving her phrases and spare clusters to linger. Flickers of Charles Ives contemplation contrast with waves of Cecil Taylor agitation

Summer Storm juxtaposes cascading, neoromantically-tinged phrasing with circular, Glass-ine melody. The subtle syncopation and ever-present angst of Inori bring the Satie echoes into even closer focus, with a cell-like Reichian precision. After the tumbling bustle of Green Cab, seemingly the most improvisational piece here, Fujii closes with a gospel-infused take of Gen Himmel, the title track to her hushed, rapturous 2013 album.

Fujii is no stranger to a magnum opus. Her densely orchestrated, harrowing 2017 Fukushima suite is her darkest masterpiece to date and was ranked best album of the year here. Her 2008 double cd Minamo, a duo with violist Karla Kihlstedt, is almost as shattering. This one is close behind, another notch in the hall of fame credentials of a rugged individualist who is as consistently interesting and relevant as she is prolific.

August 24, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment

Pianist Mara Rosenbloom Leads a Magically Hypnotic Trio at the Jazz Gallery

At the Jazz Gallery Wednesday night, there was a point where singer Anais Maviel unleashed a serrated, descending, diamond-cut glissando straight out of the Coltrane playbook while bassist Adam Lane pedaled a low E and pianist Mara Rosenbloom filled out the space between with a lingering lustre. Coltrane would have been hard-pressed to replicate that kind of precision. Maviel would do that later, and again the result was spine-tingling.

Rosenbloom came up with the night and the concept: to improvise on the theme of Adrienne Rich’s poem “I Know What I Dreamed.” It’s part of a suite loosely exploring the possibilities of love without exploitation. A challenge, musically or otherwise, under ordinary circumstances; more so by far in the post-2016 election era. To what degree did the music reflect that struggle?

Maviel did the heavy lifting and made it seem effortless, even when pushing the limits of her extended technique via meticulously articulated sputters, playful detours toward scatting or building an accusatory mantra with the poem’s title. Meanwhile, without missing a beat – literally  – she played taut polyrhythms on a tom-tom, whether with many shades of boomy grey or a rat-a-tat on the hardware. Was this a cautionary tale to hold onto our dreams lest they be stolen by the trumpies and their dream police? Maybe.

Lane was the center of the storm, whether pulling elegantly against Rosenbloom’s lingering center, bowing stygian washes or pulsing higher up the neck over the piano’s dense but sparkling chordal washes. Rosenbloom didn’t reach for the churning firestorm of her most recent album Prairie Burn, instead orchestrating what seemed to be very Indian-inspired themes. Has she been hanging with the Brooklyn Raga Massive? What a great collaboration that would be.

She opened with a classy, distantly bluesy Gershwinesque resonance and grew much more minimalist early on, with judiciously exploratory righthand against a steady river from the left. Tersely and methodically, she directed a series of wavelike crescendos, Maviel the wild card who’d push one over the edge without a split-second warning. Bass and piano were always there to catch it in a reflecting pool and then bring it to shore: sympatico teamwork as unexploitative love? Rosenbloom finally encored with a solo piece that reverted to echoes of both Gershwin as well as earlier, deeper southern blues, in a Matthew Shipp vein.

There aren’t any upcoming shows by this auspicious trio, but Rosenbloom will be at I-Beam on on Aug 11 at 8:30 PM with Guillermo Gregorio on clarinet and Omar Tamez on guitar; cover is $15. Maviel is at the Freedom Music Fest in Copenhagen, solo, on Aug 31.

August 3, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Live in Europe: Lyrical Piano Icon Fred Hersch’s Funnest Album Ever?

Fred Hersch’s latest album Live in Europe is the new paradigm. The pianist and his long-running trio didn’t even know that their live radio broadcast from Brussels last November had been recorded until the tour was over. When he found out that there was a recording, Hersch listened back and was validated that the band had killed it just as he’d remembered. Instant album! It’s streaming at Spotify; Hersch, bassist John Hébert and drummer Eric McPherson kick off a weeklong stand at the Vanguard on July 24, with sets at 8:30 and 10:30.

This is a very fun, playful, even quirky set. Beyond the fact that these three musicians are one of the rare groups in jazz who’ve been together long enough to develop near-telepathic communication, they’re in an exceptionally good mood and the result is contagious. The fact that they were just going out and having a good time onstage rather than officially making a record probably has something to do with that.

Hersch is one of the greatest – maybe the greatest – current interpreter of Monk on the piano, and the way he takes the opening number, We See’s riffs dancing further and further outside, up to a series of ridiculously good jokes, makes for a hell of an opening. Jousting, deadpan straight-up swing and some clever rhythmic shifts beneath the pianist’s increasingly marionettish pulse take it out.

The group work their way animatedly into Snape Matings with hints of a ballad that never coalesces – the fun is leaving that carrot in front of the audience. McPherson’s subtle vaudevillian touches and Hebert’s suggestion of dropping everything for a mighty charge are the icing on the cake. Scuttlers, which follows, is more of an improvisation on a similarly carnivalesque, Frank Carlberg-ish theme, followed by the aptly titled Skipping and its rhythmic shifts, the group reaching toward a jaunty, ragtime-tinged swing.

Bristol Fog -a shout-out to the late British pianist John Taylor – is a plaintively elegaic, lustrous rainy-day jazz waltz and arguably the album’s most affecting track, with a long, mutedly clustering bass solo at the center. Then the group pulse into Newklypso – a Sonny Rollins dedication – Hersch’s lithe righthand and McPherson’s irrepressible offbeat accents held together by Hebert’s funky elasticity.

The Big Easy, a balmy, slowly swaying nocturne, has Ellingtonian gravitas but also the flickering playfulness of the beginning of the show. There’s also a little wry Donald Fagen in there too, which comes further to the forefront and then recedes in favor of fondly regal yet relaxed phrasing in Herbie Hancock’s Miyako.

The group take their time giving Wayne Shorter’s Black Nile a similarly considered launch and then swing it by the tail. Hersch brings the concert full circle with a solo take of Blue Monk as the encore, pulling strings all the way. Bands who have as much sheer fun onstage rarely have this much tightness, let alone the kind of chops these three guys were showing off in Belgium that night.

July 17, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Irrepressible, Purist Fun From an Important, Individualistic New Voice in Jazz Piano

On one hand, pianist Jinjoo Yoo is as purist and trad as they get. She’s Monk-ish in her economy of notes, passion for the blues and laserlike sense of a good tune, but she actually doesn’t sound much like Monk. Brubeck is another touchstone – or imagine John Lewis without the booze (hard to do, but just try). For those reasons, her decision to work with the veteran rhythm section of bassist Neal Miner and drummer Jimmy Wormworth really pays off in her new album I’m Curious, streaming at Spotify. She’s playing Shapeshifter Lab this May 13 at 7 PM; cover is $10. If jazz piano is your thing, this is somebody you need to catch while she’s on her way up.

In addition to a knack for a good tune, Yoo has a killer sense of humor, which pops up all over the place on the album. The first track is Blullaby, a jaunty early-morning wake-up call. Yoo lets the sun radiate in, then works a supple, light-fingered, bluesy shuffle and throws in a wry Ellington quote as Miner dances and Wormworth’s deviously offbeat brushwork takes advantage of the room’s natural reverb. Almost imperceptibly, she builds a crescendo until her insistent attack  channels an unexpected gravitas

Yoo nicks the intro to Dizzy Blossom straight from Brubeck, tosses off a handful of cheery flourishes and then gets down to bluesy business, waiting for just the right moment to go sailing into the upper registers. The rhythm section’s approach is much the same as on the opening number.

With its blend of misterioso neoromanticism and the blues, the album’s title track is unselfconsciously Ellingtonian. The way Yoo works this strut from allusively creepy toward a more optimistic direction is just plain classic. Yoo takes her inspiration for the jaggedly incisive, Middle Eastern-flavored And I Call It Home from filmmaker Teymur Hajiyev’s gritty Azeri suspense flick Shanghai, Baku – its modal intensity reminds of Monk more than any other piece here. It’s the album’s darkest cut.

To Barry with Love – a solo number and a shout-out to Yoo’s teacher, postbop elder statesman Barry Harris – balances gleefully flickering, Errol Garner-ish riffs with oldschool majesty. There’s also a slightly more low-key, alternate take of Bullaby. 

May 11, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment