Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Ryan Keberle Releases His Potent, Relevant New Protest Jazz Album at the Jazz Standard

A moody Fender Rhodes melody echoes as the title track to trombonist/keyboardist Ryan Keberle’s new protest jazz album, Find the Common Shine a Light – streaming at Bandcamp – begins. Guitarist Camila Meza sings poet Mantsa Miro’s lyrics.with an understated, insistent clarity:

Our weakest link is fear of losing races
Get home before the curtain falls…
We are here to elevate the greater
Find the common, shine a light
Become the water
Put up a fight

Trumpet and trombone spar as Meza’s one-woman choir soars in the background, all the way down to a stadium-worthy singalong at the end. In times like these we need more music like this. Keberle and his band are playing the album release show on July 5 at the Jazz Standard, with sets at 7:30 and 9:30 PM. Cover is $20.

As one of the world’s electrifying jazz trombonists (longstanding member of the Maria Schneider Orchestra, Mingus bands, yadda yadda yadda), Keberle has few peers. This album is his quantum leap, a fearless, eclectic, politically charged collection that ought to go a long way in reaffirming his status as an elite bandleader as well. The theme connecting this mix of vocal and instrumental numbers is that struggle has been a constant through American history, and throughout the world: the Trump era may have its own unique and twisted challenges, but ultimately, we’ve triumphed over worse.

The album’s second track is Uruguayan songwriter Jorge Drexler’s Al Otro Lado del Rio (On the Other Side of the River), Meza’s voice and spare, lingering guitar channeling a poignant unease, a bittersweet and troubled immigrant’s narrative set to similarly moody trumpet/trombone harmonies over drummer Eric Doob’s elegant, low-key pulse. A trick ending drives the point home, hard.

That same distant angst echoes through the pensive trumpet-trombone conversation that opens Empathy, a tone poem of sorts, Meza’s gentle vocalese adding lustre; its steady, tectonic sheets slowly winding out. The rhythmic riffage and matter-of-fact stairstepping of Ancient Theory draws a straight line back to Ornette Coleman’s Prime Time period, all the way through the bass solo, Keberle’s melodica airy overhead. Michael Rodriguez’s judicious trumpet sets up Keberle’s towering crescendo.

Their cover of Fool on the Hill outdoes the Beatles: credit to Meza for getting McCartney’s cynicism, and props to the bandleader for grounding the song in enigmatic trumpet/trombone exchanges instead of taking it off into flurries of bop like so many others would do. The group follows a triumphant trajectory as Mindfulness rises from hopeful trumpet over a murky backdrop, seguieng into a portentously atmospheric cover of Dylan’s The Times They Are A-Changing, Meza playing funereal guitar belltones behind her vocals. The Nobel Prize laureate’s lyrics have aged well:

Senators, Congressmen, please head the call
Don’t stand in the doorway, don’t block up the hall
For he that gets hurt will be he that gets stalled
There’s a battle outside raging
Who’ll shake your windows and rattle your walls…

The way Keberle triangulates trumpet, trombone and Meza’s voice, a common trope throughout the record, is especially impactful here.

The miniature Strength is the album’s scruffiest interlude, trombone and trumpet brothers in arms over the bass/drums rumble. Bassist Jorge Roeder’s stark bowing opens the concluding cut, I Am a Stranger, Meza’s wary vocals set to similarly, tensely energized exchanges between Keberle and Rodriguez. “What i desire I can’t obtain from what I hate,” Meza laments. More artists across all genres, not just jazz, should be making music this relevant.

July 2, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , | Leave a comment

Uncompromising Tenor Saxophonist Noah Preminger Releases the First Protest Jazz Album of 2017 at Smalls This Weekend

Noah Preminger started writing his new album Meditations on Freedom the night of the 2016 Presidential Election. A collection of originals and four judiciously chosen covers, it’s the first protest jazz album in a year that will no doubt be full of them. History will probably judge this among the best.

Preminger works fast and likes to record live in the studio as well as onstage. His expansive but purposeful previous concert album Dark Was the Night, Cold Was the Ground, with his long-running quartet, reinvented famous Skip James blues tunes. The songs on this one are shorter and even more impactful. Preminger and the quartet are playing a weekend album release stand at 10:30 PM at Smalls this Friday and Saturday, April 7 and 8.

Preminger and trumpeter Jason Palmer open the band’s take of Bob Dylan’s Only a Pawn in Their Game as a cynical, spot-on faux-fanfare. Preminger’s introduction of a couple of Middle Eastern phrases over Ian Froman’s misterioso drums is somewhat subtler; the group ends it unresolved. Likewise, there are hints of Mexican folk in Preminger’s intro to The Way It Is, a top 40 radio hit for Bruce Hornsby before his days with the Grateful Dead. Froman rumbles and prowls, Preminger spirals and squalls a bit, then bassist Kim Cass walks it briskly and they hit a blithe swing shuffle. Is this sarcasm, once again? Either way, the band, especially Palmer and Froman, have an awful lot of fun with it.

Sam Cooke’s A Change Is Gonna Come has been done to the point where the most desirable change is almost always after the end of the song. Grounded by Cass’ low-key pulse, lowlit by Froman’s flurries, this one’s a welcome change for the better. It sets the stage for the first of Preminger’s originals, We Have a Dream, Cass’ bubbly bass introducing a resolute horn theme that sends Palmer confidently skyward. The message seems to be, stay strong, we’ll get through this.

Froman’s mutedly relentless drums – a rapturously recurrent trope throughout the album – propel the balmy Mother Earth. Women’s March is another sturdy theme that the band eventually rises to swing the hell out of, Preminger picking his spots, Palmer showing up to build a long crescendo of hazily tuneful harmonies.

Froman’s slow build beneath Preminger’s understatedly majestic, Wadada Leo Smith-like twin-horn theme as The 99 Percent gets going is masterful to the extreme. Clearly, we have the numbers, we just all have to add up together. The last of the covers, George Harrison’s Give Me Love, Give Me Peace on Earth has a laid-back New Orleans second line flavor, a smartly contextual choice. The final cut, Broken Treaties, also brings to mind Wadada Leo Smith’s most vivid, politically-inspired work, whether with Froman’s perimeter-prowling, Cass’ elegant bass incisions or the tight, sober harmonies and interplay between Preminger and Palmer. If you think it’s hard to write political music that isn’t strident or mawkish, try writing political instrumentals. Preminger has a monumental achievement on his hands here. May it be heard widely and inspire us all to get our ducks lined up for the 2018 and 2020 elections.

April 5, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | Leave a comment