Guitarists who don’t waste notes are a rare breed. They’re even rarer in the world of jambands and summer tours, which is where Charlie Hunter made his mark. As you would expect from a guy who tacked on a couple of extra strings to bolster the low end of his six-string model, groove is his thing. In doing so, he invented his own style of music, equal parts jazz, reggae, funk and vintage soul. And he can be hilarious. His latest excellent, characteristically eclectic album Everybody Has a Plan Until They Get Punched is streaming at Spotify. Hunter and his fantastic quartet have a two-night stand coming up on March 8 and 9 at 8:30 PM at the third stage at the Rockwood; cover is $15. The last time this blog was in the house there, they weren’t enforcing that annoying drink minimum, a good thing since Hunter’s crowd is more likely to smoke than get wasted on the Rockwood’s expensive drinks.
The album opens with the title track, a slow, comfortable swing blues with a characteristically wry, bubbling Curtis Fowlkes trombone solo; then cornetist Kirk Knuffke signals that all may not be so cool after all. Drummer Bobby Previte’s emphatic, tersely swinging slow triplet groove anchors the second track, Looks Like Someone Got Ahead of Schedule on Their Medication, which opens with an amusingly woozy voicings from Fowlkes and Knuffke, then takes a detour to New Orleans before the meds kick in again.
Staccato horns add spice to Leave Him Lay, a mid-80s Grateful Dead style blues fueled by Previte’s swinging, almost disco drive and Hunter’s spiky, Bob Weir-ish chords. We Don’t Want Nobody Nobody Sent is an uneasily swaying midtempo noir theme, like Big Lazy with horns and a long, purposefully crescendoing blues solo from the bandleader. Then Hunter gets even more retro with Big Bill’s Blues, ostensibly a Big Bill Broonzy homage. beginning starkly and then shifting into jubilant Crescent City territory with some artful counterpoint from the horns.
The darkly simmering soul theme Latin for Travelers is a vehicle for a contrastingly bright solo from Knuffke and then Fowlkes, dipping down to just the horns and then back for extra dynamic punch. No Money No Honey is as hard as the funk gets here, although it’s more of a swing tune: everybody in the band, especially Previte, is having a ball with this one.
Who Put You Behind the Wheel opens as a spaciously tiptoeing, Asian-tinged excursion, then morphs into reggae, with a trick ending. The looseness and freeness of Wish I Was Already Paid and On My Way Home mask its relentlessly dark, distantly klezmer-tinged undercurrent . The album winds up with the jaunty, dixieland-ish second-line march The Guys Get Shirts. This works on every level, as first-rate jazz, blues and psychedelia.
Guitarist Tom Csatari writes some of the most distinctive and thoughtfully compelling music of any composer in New York right now. With epic film soundtrack sweep, the improvisational flair of jazz and grey-sky postrock atmosphere, his work for both large and small groups transcends genre. It’s just good, and it can get dark when the band veers away from pastoral colors. Csatari is bringing his Uncivilized large ensemble to Barbes on March 16 at 8 PM. What they do is well capsulized by the epic track Escarpments (up at Soundcloud), hypnotic post-Velvets meets 70s blaxploitation soundtrack meets chamber noir.
Csatari’s most recent album is with that ensemble and shares its name with them; there are a few numbers from it up at Bandcamp. His most recent release to come over the transom here is Outro Waltz, streaming at his music page. It’s an ambitious double album, the first comprising original compositions, the second a live set of originals and covers recorded at Manhattan Inn in Greenpoint. Csatari’s lineup on this one is only slightly less ornate: along with fellow guitarist Cam Kapoor, there’s Levon Henry on tenor sax and clarinets, Adriel Williams on violin, Ross Gallagher on bass and R.J. Miller on drums. Csatari distinguished himself from the legions of hipper-than-thou jazz guitarists out there in that he’s not afraid of melody and doesn’t feel constrained to play stereotypical jazz voicings or use complicated harmony where a simple major or minor, or a spare, gently emphatic phrase would make more of a point. Bill Frisell seems the most obvious influence, although Jimmy Giuffre and the Claudia Quintet also seems like reference points.
Guitars and percussion open the album with a gamelan-tinged, atmospheric miniature. The group follows that with New Boots, a gorgeously plaintive, trippily jangly pastorale, then Nolan, a purposeful wistful, swaying tone poem with tender sax and violin.
The epic Uncivilized playfully hints at bluegrass; Csatari’s slide guitar and the band’s tricky syncopation give it a desert rock feel transposed to the Eastern Seaboard that eventually decays into a surrealistic improvisation. The warily hazy El Morrisony opens with swirling guitars and bass clarinet over a steady pulsing shuffle spiced with stark violin.
Rawlings II veers between twinkling deep space pulsar sonics and a wistful folk theme, deconstructed. Blues for Robbie mashes up enigmatic 80s indie jangle, pensive Americana and an artfully disguised, Doorsy roadhouse groove. After Plastic shifts elegantly between a loping C&W-inspired theme and a loosely pulsing cinematic vamp. Likewise, Wharfs & Drifts, between angst-fueled guitars and jauntily shuffling violin in tandem with the rhythm section.
With Legion, the band builds fluttery unease over a slow spacerock vamp that the guitars eventually take waltzing. The last of the studio tracks is Sisters, slowly coalescing to a clustering, tensely bubbling interlude and then up toward rock anthemics before descending gracefully.
The live album opens with the band making a long, gospel-infused intro of sorts out of Lee Morgan’s Search for the New Land, gently decaying into lingering atmospherics. Thelonious Monk’s Light Blue shuffles coyly between swing and offcenter deconstruction, while Elliott Smith’s Speed Trials reverts to a wistful, swaying nocturnal vein, with an indian summer tenor sax solo by Kyle Wilson at the center. The first original here, Curationisms segues out of it with a return to jangly but purposefully strolling contemplation.
Kingsnoth blends lush sweep and amiably ambling interplay that hints at dixieland but doesn’t go there. Chris Weisman’s The Winning Blues again looks back toward Frisell, in lingering anthemic mode: by the end, it’s a straight-up rock song. Miller, who’s been giving all this a gently swaying groove, finally gets to cut loose as Water Park Rodeo slowly comes together out of starlit guitars to an ominously shivery theme and then an unexpected detour toward 70s psychedelic soul. Call this what you want – jazz, rock, film score – it’s music to get lost in.
Although violinist Arun Ramamurthy has extensive training in Indian carnatic music, he’s also a jazz guy. He’s got a lively, intriguing, cross-pollinating new album, Jazz Carnatica,streaming at Bandcamp. It’s an attempt to radically reinvent ragas with his trio, Perry Wortman on bass and Sameer Gupta – leader of Indian jazz band Namaskar, who reinvent old Bollywood themes – on drums. What does this music sound like? Because all but one of the tracks are based on classic ragas, it’s Indian classical music first and foremost. But the rhythms are lithe and dancing and full of pulsing energy, and far more terse than the frequently expansive, slowly unwinding themes of sitar music. If you’ve got friends who might confide something like, “Sure, I like Indian music ok, but it’s so meeeelllllllloooooowwwwww…” play this the next time you see them and they’ll have a change of heart. The trio are playing the album release show on Nov 1 at 8 PM at at Greenwich House Music School, 46 Barrow St. in the West Village; cover is $15.
As much as Ramamurthy’s violin moves around, and it’s always in motion, even when he’s at his most energetic he doesn’t stray far from a central tone. That tension fuels a lot of understated mystery here. The opening track starts out surprisingly funky, with a catchy turnaround and a very cleverly implied two-chord (or two-mode, if you must) vamp. The elegant intro of the second number quickly gives way to a dancing but hypnotic theme, which the band vamps on – Wortman often doubles Ramamurthy’s lines, providing a staccato contrast to Ramamurthy’s lingering sustain.
Marc Cary – who also plays with Gupta in Namaskar – guests on the album’s three central tracks. The first also features another cross-pollinating violinist, Trina Basu – it’s the closest thing here to a psychedelically rustic, Ravi Shankar-style raga, but built around a riff that’s pure blues. The second has Cary adding a little calypso jazz flair and the most traditional jazz vernacular of the tracks here.
The next two tracks build out of moody atmospherics to more lively interplay. Likewise, the seventh track – the one Ramamurthy original, and the best of them all – expands outward from a broodingly chromatic tune to a bouncy bass solo. As the album goes along, Ramamurthy goes deeper into the microtones, his rather severe, intense tone contrasting with Wortman’s bubbly bass on the eight number here. The final one is the closest to the kind of modal jazz that Gupta plays in Namaskar, Ramamurthy choosing his spots. All of the tracks clock in at more than five minutes, sometimes considerably more. Onstage, they’ll probably take them out even further into more psychedelic territory. This is an album that will grab a lot of people: Indian music fans in search of a shot of adrenaline, and jazz fans who thrive on the space between the notes.
Before the world premiere of his new arrangement of Mike Oldfield’s Tubular Bells last night, guitarist Grey McMurray encouraged WNYC’s John Schaefer to take a few slugs from the hip flask that he’d just flashed to the audience. The joke was that the original album was ostensibly fueled by a lot of alcohol (and obviously a lot of other stuff – it was 1973, after all). What was it like to experience McMurray’s new version without the help of any of that? It was definitely an improvement on the original, worthy of Brian Eno in places. The question is whether or not the original merited as much. Running late to get to the early afterwork show, there wasn’t time to hit the wine store beforehand, something that might have been a good idea.
Seriously: beyond the prog-rock/mathrock cult, who’s ever listened to side two of the album, let alone the sequence of tracks after the iconic tune in 15/4 time that was cut-and-pasted into the theme to the Exorcist? That hit single has been a staple of Halloween playlists for four decades. How Halloweenish did it sound, as played by McMurray and the Wordless Music Orchestra? Not very. The main theme wasn’t even played on tubular bells: drummer Qasim Naqvi introduced it by plinking it out on glockenspiel. From a listener’s point of view, it was harder to defamiliarize, and experience that deliciously eerie theme with fresh ears, than it must have been for McMurray and the group to recontextualize it. He’d explained beforehand that he’d discouraged them from listening to the original for inspiration: smart advice.
What is the rest of the album like? The original, mostly overdubbed by Oldfield himself on a large studio’s supply of instruments, is showoffy, endlessly vamping and not particularly substantial. It’s short of second-rate Pink Floyd. For that matter, it’s not second-rate Jethro Tull, another obvious influence, either. Yet McMurray found beauty and elegance in it, building a joyously Enoesque, clear-sky gleam that lingered until the piece took a detour into secondhand Americana. Violinist Caleb Burhans, acoustic guitarist Aaron Roche, keyboardist/singer Olga Bell, pianist Justin Carroll and cellist Clarice Jensen reveled in those expansive textures.
Sound engineer Richie Clarke was given a shout-out in the program notes and earned that many times over: the World Financial Center atrium, where highs spin off the walls like electrons from what’s left of the Fukushima plant, is hardly conducive to rock bands, even an elegant art-rock band like this one. But he made it work, and McMurray gets credit for much of that because he also felt the room and kept his amp down in the mix so that the strings in particular could be heard. The lone shiver-inducing moment belonged to Jensen, whose sinewy, raspy reprise of the horror movie theme came completely by surprise about a third of the way through the suite. Bassist Chris Morrissey, like McMurray, looked like he was about to jump out of his shoes at times, resisting the urge to stand up and blast out his loopily propulsive groove. And Schaefer himself supplied the deadpan spoken-word introduction of the instruments, unable to resist a grin as he did so: by then, maybe he’d gotten into the sauce.
What it is like to listen back to it after having a few? It sounds better. You can decide for yourself when the concert airs on Q2 and then on Schaefer’s New Sounds program on November 20: you might want to make it a party night. Memo to the band: release this album on vinyl and you stand a good chance of topping the Billboard charts. No joke. If Leonard Cohen could do it, so can you. There’s an awful lot of old people, and young people too, who will buy it.
Moist Paula Henderson (whose nickname stems from her longtime leadership of legendary instrumental trio Moisturizer) has been the standout baritone saxophonist in the New York downtown scene for several years. Her own work has an irrepressible joie de vivre and wry humor; her new album with her latest project, Tzar, recorded live at the Stone this past February takes a turn in a considerably different, much darker direction. Here she’s joined by Ithaca, New York musicians Brian “Willie B” Wilson on drums, electronics and bass pedals (who really gets a workout, playing everything simultaneously, it seems) and Michael Stark on keyboards. Their intriguing multi-segmented pieces blend elements of trip-hop, downtempo, noise and the edgy jazz that Henderson has pursued more deeply in recent years. It’s a deliciously mysterious, eclectic ride. The whole thing is streaming at their Bandcamp page.
The first track, There’s a Prayer for That opens with a raw, bitter piano theme and variations against rumbling drums, Henderson’s stark, biting swirls enhancing the smoky ambience. Funereal organ then replaces the piano and the piece morphs into creepy trip-hop. Begin At Sunset maintains the vibe, sax mingling suspensefully with layers of uneasy synth and squiggly eleectronic EFX, then takes an unexpected turn into dub reggae. The most improvisational-sounding number is Ambient Subtraction, Henderson’s otherworldly, harmonically tingling polytonalities blending into a morass of textures as the storm builds to an ominously insectile rumble. By contrast, the cheery go-go theme Hibachi Sushi Dance sounds like a Moisturizer outtake, but even more minimalist. The album winds up with Knuckles & Milk, juxtaposing surreallistic, mechanical menace a la Pink Floyd’s Welcome to the Machine with noisy, paint-peeling synth squalls over a martial beat, Henderson raising the tension with a marvelously terse, chromatically-charged interlude before turning it over to Wilson. Play this one with the lights out. Recommended equally for fans of jazz, psychedelia and dark rock.
Is it possible to be nostalgic for something that happened just four years ago? Is nostalgia a healthy emotion to begin with? Probably not. But with this week being the four-year anniversary of Small Beast, seeing that date memorialized Monday night upstairs at the Delancey brought back fond memories of the weekly series’ glory days here in New York. Botanica frontman Paul Wallfisch – this era’s finest rock keyboardist – founded the night in 2008 as a solo residency, followed by an endless cavalcade of some of New York’s, and the world’s, finest and darkest rock acts. This evening was a fond reminder of what an amazing run Small Beast had up to the summer of 2010, when Wallfisch took his show on the road to Germany. He now runs the State Theatre in Dortmund, which also serves as the European base for the Beast.
The night opened explosively with Valerie Kuehne. She’s part punk classical cellist, part performance artist, but her performance art isn’t the foofy, mannered kind – it’s oldschool 80s style and it has fangs. And it’s hilarious. Whether or not Kraft pasteurized processed American cheese qualifies as food, or how yoga has been transformed from oasis of relaxation to yuppie clusterfuck, might seem obvious. But Kuehne’s rapidfire rants about both were irresistibly funny all the way through to the punchlines…and then she played a roaring solo cello piece that became surprisingly lyrical, as violinist Jeffrey Young strolled in through the audience, and then she and accomplice Esther Neff donned masks and handed out instructions to the audience. Which turned out to be a cruel kind of dada – watching the crowd make fools of themselves, looking up at them from the floor of the club (music bloggers aren’t immune to being spoofed) was almost as funny. Then she and Neff ran off to Cake Shop, where they were doing another show.
Martin Bisi cautioned before his duo improvisation with fellow guitarist Ernest Anderson that it might be “sleepy.” Nightmarish, maybe, but definitely not sleepy: fifteen seconds into it, and Bisi hit a ringing tritone and then sent it spiraling devilishly through the mix as Anderson anchored the ambience with keening layers of sustain from his ebow. Meanwhile, Bisi slammed out chords when he wasn’t building a murky, echoey cauldron of implied melody. And then in a raised middle finger to the sound system, he stuck his guitar in his amp and mixed the noise through a labyrinth of bleeding, pulsing effects. Although he’s not known as a jam guy – epic dark songcraft is his thing – he’s actually a tremendously entertaining improviser who never plays the same thing the same way twice. Jamming out soundscapes is probably the last thing he or anybody who knows his music would expect him to be doing, but this was good trippy fun.
Roman Wallfisch was the star of this show. The guitarist son of the night’s impresario has been playing banjo for a couple of weeks now, and he’s already figured out all sorts of cool voicings mixing old folk tropes with new rock ones. He casually made his way through a couple of shambling narratives, Monsoon Season and Parts of Speech, both songs showing off a wryly surreal lyrical sensibility and a wicked sense of melody: the apple obviously didn’t fall far from the tree. Oh yeah – in case you’re wondering, Roman Wallfisch is fourteen years old.
And the Wiremen – in a duo performance with guitarist/bandleader Lynn Wright and violinist Jon Petrow – could have been anticlimactic, but they weren’t. Wright’s plaintive English/Spanish vocals over broodingly jangly, reverb-toned southwestern gothic melodies were as surrealistically dusky as ever. Wright held the crowd rapt with a quiet new song and ended the set with Sleep, which seems to be a cautionary tale, Petrow’s even more reverb-drenched lines raising the sepulchral ambience as high as anything sepulchral can go.
Guitarist Alexander Hacke and electric autoharpist Danielle Depicciotto treated the crowd to an equally brooding southwestern gothic ballad and then Cuckoo, the old Austrian folk song, complete with yodeling. Noir cabaret personality Little Annie was supposed to be next, but she was under the weather, so pianist Wallfisch was joined by another brilliant dark chanteuse, Sally Norvell, whose takes of three haunting tracks from her duo album with him a few years back were lustrous and riveting, running the gamut from joyously torchy and seductive to funereal.
Wallfisch wrapped up the night with the kind of intuitively eclectic mix that defined the Beast for a couple of years, capturing the raw innocence of the Kinks’ Waterloo Sunset and the apprehension of Dylan’s Blind Willie McTell before a wry Little Annie Christmas song, the furtive gypsy punk of the Botanica song Money (from their latest, towering, intense album What Do You Believe In) and then the scorching gypsy punk of How, a crowd-pleaser from the old days. Petrow made another ghostly cameo or two. By now, it was after one in the morning, so Wallfisch wrapped up the evening with the nocturne Past One O’Clock (an audience request), the towering anthem Judgment (centerpiece of the new album) and a gorgeously brooding new number inspired by – among other things – the college kid in New Jersey who lept to his death from a bridge after being outed as gay. If there’s any lesson to take away from this show, it’s carpe diem: if there’s a scene this vital that you hang out in, don’t hide yourself at home, even if it’s Monday night. It could be gone sooner than you think.
Bio Ritmo’s new album La Verdad uses oldschool, classic Fania era salsa as its stepping-off point and blends in trippy, hypnotic, sometimes fiery elements of Ethiopian jazz, Afrobeat and dub for a sound that’s absolutely unique, and absolutely psychedelic. Keyboardist Marlysse Simmons-Argandona is their secret weapon. Sometimes she anchors the music with darkly reverberating Fender Rhodes lines; other times she goes way up for a glimmering, pointillistic, starlit vibe; then she’ll swoop in with the organ or shift to swinging Afro-Cuban salsa piano riffs. The horns move from bright, incisive bursts, to big, lushly jazzy swells, with frequent breaks for individual solos, as the timbales rattle, the congas hold the tunes close to the ground and the bass rises with a body-tugging groove. Singer Rei Alvarez is a mercurial, slyly surreal presence: when there are lyrics here, they work on several different levels.
As you would expect from a great oldschool album, there’s a distinct Side One and Side Two side here. The opening cut features unexpected touches like wah-wah keys and a blippy bass solo along with some tasty brass parts. A couple of the jazzier tracks, like the title number and Caravana del Vejicante (Clown Parade) often resemble the excellent, shapeshifting latin-influenced jazz group Either/Orchestra, with their cleverly shifting brass segments and smirking keyboard interludes. The third track, Dina’s Mambo, contrasts psychedelic slinky, conspiratorially swinging, psychedelic keys with hi-beam horns; the fourth, Carnaval, builds nonchalantly to a punked-out Afrobeat feel. There’s also the deliciously noir Verguenza (Shame); the bouncy, surprisingly carefree, sarcastic Majadero (The Noodge); the even creepier, Thelonious Monk-ish Lola’s Dilemma with its subtle dub echoes spicing up a tiptoeing son montuno melody; and the hidden track, an absolutely killer dub version of the second cut. If you wish you’d lived through the classic salsa era of the 70s – or if you did – this one’s for you. Bio Ritmo play the album release show for this one tonight at 10 at Southpaw; those who prefer the superior sonics at SOB’s should check out their Manhattan release show there at 8 PM on Nov 18. Also recommended: Bio Ritmo’s sister band Miramar, who recreate classic Puerto Rican boleros from the 1950s (and create some of their own) with a similarly dark psychedelic edge.
As we do pretty much every day, our 1000 best albums of all time countdown continues all the way to #1. Monday’s album was #471:
Sielun Veljet – Live
Sielun Veljet (Finnish for “Soul Brothers”) are iconic in their native land. Their earliest songs set eardrum-peeling, trebly PiL-style noise guitar over catchy, growling, snappy bass and roaring punk vocals. The Finnish lyrics are surreal and assaultive as well. This scorching 1983 concert recording takes most of the songs off their first album and rips them to shreds. The best of these is Turvaa (Saved), with its ominous, chromatics and catchy, burning bassline. There’s also Emil Zatopek, a hoarse, breathless tribute to the long-distance runner; the primal, tribal Haisa Vittu; the surprisingly ornate Karjalan Kunnaila; the spooky epic Yö Erottaa Pojasta Miehen; Politikkaa, a macabre, reverb-drenched chromatic noise-funk tune; and the most traditionally punk number, Huda Huda (basically Finnish for “Yay, yay” – the sarcasm transcends any language barrier). Because of the album title (not to mention that it was never released outside Finland), it’s awfully hard to find online; in lieu of this, here’s a random torrent for their first album.
As we do pretty much every day, our 1000 best albums of all time countdown continues all the way to #1. Sunday’s album was #472:
Jenifer Jackson – Slowly Bright
This 1999 release was Jackson’s quantum leap: it established her as one of the world’s most astonishingly diverse, intelligent songwriters. Her vocals here are memorably hushed and gentle: since then, she’s diversified as a singer as well. The songwriting blends Beatlesque psychedelia with bossa nova, with the occasional hint of trip-hop or ambient music. Every track here is solid; the real stunner that resonates after all these years is When You Looked At Me, with its understated Ticket to Ride beat, swirling atmospherics and crescendoing chorus where Jackson goes way, way up to the top of her range. The title track, Anything Can Happen and the vividly imagistic Yesterday My Heart Was Free have a psychedelic tropicalia feel; Whole Wide World, Burned Down Summer and I’ll Be Back Soon are gorgeous janglerock hits; So Hard to Believe balances tenderness against dread. The catchiest track here may be the unexpectedly optimistic, soul-infused Look Down; the album closes with the lush, hypnotic, blithely swaying Dream. And believe it or not, this classic is nowhere to be found in the blogosphere or the other usual sources for music, although it’s still available from cdbaby. Her forthcoming one, The Day Happiness Found Me is every bit as good, maybe better; it comes out in December.