Another Enigmatic, Devious Album From Mr. Ho

Mr. Ho’s Orchestrotica began as an Esquivel cover project and quickly expanded to become a vehicle for multi-instrumentalist/percussionist bandleader Brian O’Neill’s erudite grooves, part exotica lounge band, part droll Raymond Scott-esque third-stream ensemble and once in awhile, expanding to become an explosive big band. With the smaller unit, it continues to amaze how big and lush a sound O’Neill gets out of a simple vibraphone/flute/bass/drums quartet. Their first album, a collection of Esquivel tunes, was a mixed bag; their second, Third River Rangoon, a richly woozy, psychedelic glide down a jungle river of the mind. Their third, Where Here Meets There is a suite, more or less: while the compositions don’t segue from one into another, O’Neill sets a mood immediately and maintains it, hypnotic and resonant yet a lot more rhythmic than their previous effort.

The opening track, Chiseling Music, introduces the nebulous, enigmatically minimalist feel that dominates most of these compositions, guest Tev Stevig’s spiky tanbur contrasting with balmy atmospherics. Beginning with echoey hand drum and then a slowly winding vibraphone solo, Sansaz dances, but as if underwater, finally emerging to come face-to-face with the cold, distant menace of that tanbur again. Maracatune for Chalco works a vamping, Esquivelic low-versus-high contrast, bass handling some of the highs, flute some of the lows as it grows more kinetic and then suddenly eerie as percussionist Shane Shanahan comes to the foreground.

Would You Like Bongos with That Fugue? is O’Neill in droll third-stream mode, a dancing Jason Davis bass solo at its center as the atmospherics recede back into the mist. Ritual Mallett Dance – inspired by paradigm-shifting percussionist Chano Pozo, with distant ecchoes of flamenco and cha-cha – mashes up de Falla’s Ritual Fire Dance and Dizzy Gillespie’s Guachi Guaro. They follow that with a Gershwin triptych that makes bouncy bossa out of ragtime, finally sending Geni Skendo’s flute soaring skyward, Peggy Lee’s Siamese Cat Song making a somewhat predictably cartoonish appearance midway through. The album ends with a masterfully misterioso, brooding take of Cal Tjader’s Black Orchid, Stevig managing to fire off an oud solo that doesn’t sound Middle Eastern, looping bass and then ambient flute maintaining a suspenseful edge as O’Neill’s vibes get busy. Adding to the fact that this a fascinating and often very fun album is that there is no band on the planet that sounds remotely like Mr. Ho’s Orchestrotica – not even any of those long-defunct Esquivel ensembles who inspired them.

Brian Carpenter’s Ghost Train Orchestra Resurrects Rare, Darkly Pioneering Cinematic Swing

Trumpeter Brian Carpenter‘s Ghost Train Orchestra has most recently capitalized on the nuevo moldy fig jazz market; their 2011 album Hothouse Stomp was an irresistibly frantic romp through the books of obscure hot jazz bandleaders Charlie Johnson, Tiny Parham and Fess Williams. But Carpenter has roots in noir music, from his days with Boston band Beat Circus in the early 90s, so the Ghost Train Orchestra’s new album Book of Rhapsodies is something of a return to form. When it’s not, it’s a mix of early third-stream compositions, some with a cinematic or cartoonish tinge, from some familiar and more obscure names from the 30s and 40s. There will be some listeners who see the cd sleeve art or the Raymond Scott compositions and assume that this is kitsch, or will misuse the word “ironic” in describing it, both of which would be a mistake

Beyond the frequent noir, there’s a winking, sotto vocce “see if they get it” to many of these compositions, but that’s less musician-insiderness than simply tongue-in-cheek fun. The album opens with Charlie’s Prelude, by Louis Singer (who wrote charts for the pioneering cult favorite John Kirby Sextet in the 30s), turning the immortal Chopin E Minor Prelude into a borrowed Black & Tan Fantasy with a bluesy slink and a broodingly resonant trombone lead from Curtis Hasselbring. Beethoven Riffs On, also by Singer, swings a theme from Beethoven’s 7th Symphony with a latin-tinged hi-de-ho bounce. Carpenter and ensemble rescue British composer Reginald Foresythe’s Volcanic (Eruption for Orchestra) from obscurity with a dixieland scamper spiced with the occasional eerie flourish from Dennis Lichtman’s clarinet. And Carpenter’s arrangement of another Foresythe track, Revolt of the Yes Men gives banjoist Brandon Seabrook a chance to buzz and be a tremolo-picking thorn in the side of the orchestra and their intricate exchange of voices; it’s more revolutionary than simply having been ahead of its 1936 era.

Dawn on the Desert, by Kirby Sextet trumpeter Charlie Shavers, does Gershwin’s Summertime as a Hollywood hijaz nocturne, Carpenter’s moody trumpet exchanging with Avi Bortnick’s ominously tremoloing guitar, then morphs into a skronky march reminscent of late 80s John Zorn. The album’s centerpieces, more or less, come from the Alec Wilder catalog: the lushly orchestrated, suspiciously deadpan Dance Man Buys a Farm (an apt juxtaposition with Raymond Scott’s The Happy Farmer); the more moody, tensely pulsing It’s Silk, Feel It; The Children Meet the Train, which is Old Man River thinly disguised at doublespeed; and Her Old Man Was (At Times) Suspicious, which with its sudden jump-cut phrasing is the closest thing here to Scott’s Looney Tunes soundtracks.

There are also a couple additional, absolutely killer tracks from the Scott catalog. At An Arabian House Party works a creepy noir swing fueled by Bortnick’s jagged, Steve Ulrich-esque guitar in place of the original harpsichord part, like Beninghove’s Hangmen playing it very close to the vest. And Celebration on the Planet Mars, with its surreal,  atmospheric swells and fades, serves as a magic carpet for the rest of the ensemble to take for an unselfconsciously joyous, vaudevillian ride. The rest of this edition of the band includes Andy Laster on alto sax; Petr Cancura on tenor sax and clarinet; Tanya Kalmanovitch on viola; Mazz Swift on violin and vocals; Brandon Seabrook on banjo; Ron Caswell on tuba, Michael Bates on bass and Rob Garcia on drums. Their previous album spent a long time at the top of the Billboard jazz charts; one suspects this will do the same. They play the album release show at Subculture at 8 PM on Oct 26.

The Colorado Saxophone Quartet’s Movie for the Ears

The new album 12 Preludes and Fugues by the Colorado Saxophone Quartet is a showcase for composer Michael Pagan’s seemingly boundless eclecticism, not to mention his sense of humor. There’s a centuries-old precedent for this: timbrewise, it’s just a little grittier than your typical wind ensemble. Imagine the baritone sax as the bassoon and the soprano as the oboe and you won’t be far off.  Most of these pieces clock in at around three minutes or less, many of them imaginatively interpolating elements of the baroque, jazz, and film music, frequently with trick endings and unexpected tempo shifts. Often the fugue will embellish the preceding prelude’s theme but just as often it’ll change the mood completely. The ensemble: Pete Lewis, Clare Church, Tom Myer, Andrew Stonerock and Kurtis Adams (yes, there are five in all, but apparently not all at once) – display an often stunning ability to get their fingers around all the styles here, some of which are pretty foreign to the saxophone. The album starts out baroque, goes in a darkly cinematic, more jazz-inflected direction, followed by brief detours into the Romantic era and 1950s latin pop.

The most stunning cut here is also the longest. Vividly alluding to the preceding fugue, Prelude IV expands on the noir atmosphere that will take centerstage throughout the following several segments, Bernard Herrmann as arranged by Gil Evans, maybe. Pagan’s use of interlocking voices is dizzying, to the point where the ensemble sounds many times larger than a simple four-piece. This segment is a suspense theme that goes up with an uneasy trill, then back down where it percolates darkly. Baritone sax maintains a magnificently burnished cello-like tone on the brooding fugue that comes afterward, followed by Prelude V which is actually a prelude and a fugue in itself, slow, methodical noir swing followed by a bustling, intricately orchestrated chase scene. A bit later, after a lull in the suspense, there’s a break with a baroque/jazz-infused tango, a jaunty ragtime/early swing number but without the cornball affectations, another series of noir interludes, a sad, atmospheric waltz and finally a break from the moody intensity with a warm nocturne that wouldn’t be out of place in Brahms.

The rest of this is isn’t as dark, often serving as a vehicle for Pagan’s abundant humor. Prelude XIX is a darkly comedic theme with almost a reggae beat and Middle Eastern tinges. The most overtly baroque works here which open the album are somewhat over-the-top in a Victor Borge/Raymond Scott kind of way and are often uproariously funny. As is the concluding piece, a genial, bouncily swinging tarantella melody that takes on the feel of a bumbling gangster movie theme. The ensemble clearly have as much fun playing this as Pagan must have when he wrote it – now it’s your turn.