Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Tenor Saxophonist Tom Tallitsch Puts Out His Best, Most Darkly Intense Album

Tom Tallitsch is one of the major composers in jazz right now and a dynamic force on the tenor sax as well. As a radio host, he’s also advocated for under-the-radar artists from the New York jazz scene. His latest, excellent album Gratitude is streaming at Posi-Tone Records; he’s leading a quartet this Saturday night, May 6 at Minton’s, with sets at 7 and 9:30 PM. Cover is $10; if you want a table, there’s a two-item minimum.

This is a very emotionally charged record; the unifying theme is sad departures and welcome arrivals. The opening track, Terrain, is a sonic road trip. Jon Davis’ piano anchors an allusively Middle Eastern intensity as drummer Rudy Royston flurries and spirals, the bandleader leading the charge into a more-or-less free interlude that this era’s great extrovert behind the kit pulls back onto the rails,

Tallitsch and bassist Peter Brendler double the melody as the tricky metrics of Kindred Spirit sway along over an implied clave, the bandleader’s bristling, smoke-tinged solo giving way to a deliciously suspenseful one from Davis and then a broodingly modal one from the bass.

The group’s reinvention of a generic old Fleetwood Mac song isn’t even recognizable until the first chorus; the wayDavis’ gold dust piano spins into blues, eerie passing tones and then back is a revelation, as is Talitsch’s magically dynamic, shivery, nuanced solo that follows as guest Brian Charette’s organ swells behind him.

The briskly swinging Refuge brings to mind Rudresh Mahanthappa’s Charlie Parker-fixated material, Davis’ scampering solo at the center. The uneasily modal Northeast is just plain one of the best jazz songs released in recent months, fueled by Tallitsch’s soberly cinematic drive, Davis’ masterful fugal tradeoffs and Brendler’s aching bends as Royston rattles the traps.

The album’s most epic track, Alternate Side is a rapdifire swing shuffle, a long launching pad for Tallitsch chromatics and a scurryingly droll Davis solo. More bands should cover the Beatles’ Because (you should hear Svetlana & the Delancey Five play Rob Garcia’s New Orleans funeral march chart for it). These guys’ version is similarly elegaic but more spare.

The broodingly funky, swaying Rust Belt aptly evokes a gritty post-industrial milieu with more tasty Tallitsch modalities, echoed by Davis and Brendler as Royston puts the torch to the remaining brickwork. The album’s title track is a gospel-infused pastoral jazz waltz and arguably its catchiest number. It’s definitely a new style for Tallitsch, but he nails it.

Oblivion isn’t anywhere near as disconsolate (or intoxicated) as the title would imply, but it’s got bite, Royston’s fierce drive straightening it out as Davis and the bandleader parse its modalities for anger and irony. The album winds up with a comfortably, loosely swinging take of Led Zep’s Thank You, Charette and Davis taking the band to church. Not only is this Tallitsch’s best album, iIt’s hard to think of a more ceaselessly interesting, tuneful jazz release over the last few months.

May 3, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Trumpeter James Williams with Svetlana & the Delancey Five: Midnight at Noon at the Blue Note

“”They let you in here?” the leader of Svetlana & the Delancey Five asked the writer, scrunching up her face.

“No, they didn’t,” the writer answered truthfully. “Your trumpet player did.”

“It’s always midnight at the Blue Note,” the irrepressible swing chanteuse grinned as she took the stage yesterday, and the crowd agreed. This time out, she’d brought a big slice of New Orleans in the person of trumpeter/crooner James Williams. There are thousands of oldtimey swing bands with women out front, but what makes this band different is that they aren’t just a backing unit. And they have the advantage of the kind of chemistry that comes from playing together week after week for the better part of four years. Their latest album Night at the Speakeasy explores some of the territory that Louis Armstrong and Ella Fitzgerald worked with so much fun, and the addition of Williams gave them the chance to wake everybody up with a little taste of Mardi Gas.

With the summery neoromantic glimmer of Billy Test’s piano, drummer Rob Garcia hit the first of several devious stumbling-caveman riffs and they were off into a scampering take of I’ve Got Rhythm, with rapidfire solos from Test and saxophonist Michael Hashin, Test trading eights with Garcia. When bassist Daniel Foose soloed, he did it with horn voicings, bubbling and sliding upwards: if you absolutely must indulge yourself and solo on the bass, you want to keep the crowd entertained, right?

First joining forces with a swinging take of Someone Just Like You, the singers took a coy formula perfected by Louis and Ella to the next level. Svetlana played the ingenue, teasing Williams, and he responded by pushing further and further and kept the audience in stitches. His bursts and burbles on trumpet matched the sly soul in his growly bass voice: he played as if he had a mute even though he didn’t . It seemed that he was making up half the lyrics on the spot – he’s got the prewar vernacular and the ginmill seduction honed to a fine shine.

To his credit, both Williams and the band managed for the most part to skirt cheesiness on their take of Hello Dolly, the one number closest to the Louis Armstrong catalog, propelled by Garcia’s second-line inspired shuffle. Svetlana and the band reinvented the Beatles’ Because as stern, stark, hauntingly austere, gospel-infused late 1800s rusticity, Garcia’s chart finding new plaintiveness and poignancy in the moody McCartney melody. They followed with a briskly shuffling Lady Be Good, Williams just a little behind the beat for extra sass. Cheek to Cheek was the most ribald number on the bill, and the whole band got into the act, instrumentally at least, leaving the dancefloor pickup scene for the couple at the mic to work out. Likewise, the band eased their way into Baby It’s Cold Outside, drawing plenty of chuckles with a series of riffs from a whole slew of cheesy Xmas hits.

They wound up the set with a piano-and-vocal intro into a slowly swinging Blue Skies – Svetlana took an equally charming and challenging, stairstepping prowl through the first verse, then the group took it swinging doublespeed with lickety-split solos from Hashin and Test to send the crowd out breathless. Svetlana saved her lone swoop up to the towering peak of her register for the last line of the last chorus. She and the group are off to Israel for a little tour, then they return to New York on Dec 5 at 9 PM at their regular backyard-tenement haunt, the Back Room on Norfolk just north of Delancey. Look for the unlocked gate on the east side of the street about eighty feet up the block.

November 28, 2016 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Svetlana and the Delancey Five Salute Ella and Satchmo and Put Their Own Sophisticated Stamp on Classic Swing

It figures that drummer Rob Garcia would grab the opportunity to kick off Svetlana & the Delancey Five‘s show at Lucille’s Friday night with a counterintuitive series of offbeats into a hi-de-ho intro, Mike Sailors’ spiraling trumpet solo rising to carnivalesque heights and foreshadowing a darkly lustrous, unselfconsciously erudite show. Why has swing jazz become so enormously popular again? Sure, you can dance to it, and many couples – as well as an exuberant, octogenarian tapdancer – were cutting a rug at this show. But swing is also escapist, and frontwoman Svetlana Shmulyian makes no secret that this is her her vehicle for finding solace and transcendence, and that everybody is welcome to get onboard. But what differentiates this band from the hundreds of others working territory that’s often been done to death over the years is that this group isn’t just a vehicle for vocals. In over four years together, this semi-revolving cast has built a cohesiveness, a camaraderie and a distinctively sophisticated sound largely unrivalled in their thriving demimonde.

For example, Blue Skies is a swing staple, but Shmulyian didn’t sing it as straight-up exuberance – and essentially warned the crowd that she wasn’t going to. And then made good on that, with an uncluttered, balmy optimism grounded in the sense that there definitely had been a storm before the calm. The rest of the program was thematic, a characteristically ambitious celebration of the sixtieth anniversary of the mid-50s Louis Armstrong/Ella Fitzgerald collaborations. A potential minefield, but Shmulyian and special guest trombonist/singer Wycliffe Gordon rose to that challenge, indomitably and with a deeply bluesy edge echoed throughout the band.

Pianist Ben Paterson spiced his purist riffs with the occasional gracefully adrenalizing neoromantic cascade, while Garcia delivered grooves that roamed far south of the border, as well as from Buddy Rich splash, to a more chill, vintage Harlem pulse. And his arrangement of the Beatles’ Because brought out every bit of angst in Paul McCartney’s moody ballad, reinvented as a darkly bristling tango. Bassist Scott Ritchie kept his changes purposeful and low-key, and was having more fun than simply walking the changes. Saxophonist Michael Hashin alternated between sailing soprano and dynamic yet terse leaps and bounds on tenor.

But it was the chemistry between Shmulyian and Gordon that hit the highest points of the night, whether his masterful and deceptively subtle plunger work, or his droll, tongue-in-cheek vocals and effortless shifts into falsetto, or the night’s most hilarious moment, at the end of a solo toward the end of the show. As obvious and vaudevillian as that was, Gordon waited patiently to make that moment as ridiculously amusing as it was. And the reliably dynamic, eclectic Shmulyian was pretty much jumping out of her shoes from the git-go, rising to the very top of her register, vibrato going full blast. Yet it was a simmering take of the midtempo ballad Under a Blanket of Blue that arguably carried the most impact.

Likewise, the best song of the night might well have been a brand-new Shmulyian original, a bittersweetly swaying, guardedly optimistic New York-centric ballad allowing for a flicker of hope in the face of omnipresent bad news. Although she also grinningly acknowledged the results of the Brexit referendum, drawing some pretty wild applause from throughout the club. Grounded in the here and now, Shmulyian and her band played a show to get lost in: not bad for somebody who grew up in Moscow spinning Ella Fitzgerald vinyl on her family’s turntable and arrived in New York without knowing a soul here. The band’s next New York gig is a free show on July 23 at 8 PM at the auditorium at Kingsborough Community College, 2001 Oriental Blvd. in Manhattan Beach; the closest train is the Q to Brighton Beach.

June 29, 2016 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Ghost Train Orchestra Bring the Roaring 20s and the Not-So-Roaring 20s to the Jalopy

The Ghost Train Orchestra differentiate themselves from most of the oldtime swing bands out there in that they don’t play standards. They specialize in rescuing lost treasures from the 20s and 30s, songs that were typically unknown outside of small, regional scenes. Part living archive, part tight, explosive dance band, it’s no wonder that their albums routinely top the jazz charts. They’re playing the cd release show for their latest one Hot Town this May 22 at 10 PM at the Jalopy. Because the venue is expecting a sellout, they’re selling advance tix for $10. Opening the show at 9, GTO clarinetist Dennis Lichtman does double duty and switches to his fiddle and maybe his mandolin out in front of his western swing band Brain Cloud.

The new album is a mix of songs that didn’t make it onto the orchestra’s 2011 breakthrough album Hothouse Stomp, along some even more obscure rediscoveries and a couple that might be slightly better known – go figure! The title track is actually a reinvention rather than a straight-up cover -and it was actually a big hit for Harlem’s Fess Williams and his orchestra in 1929 as a vamping novelty tune. This version has guest bass saxophonist Colin Stetson providing eerie diesel-train overtones before the clickety-clack groove gets underway. A second track originally done by Williams, You Can’t Go Wrong has more of a 19th century plantation-folk feel than the rest of the material here.

This album marks the debut release of Mo’Lasses, the second track, recorded by Charlie Johnson’s Paradise Orchestra, also in 1929, but never released. As rapidfire doom blues (is that a genre?) go, it’s got a striking early Ellingtonian sophistication; bandleader Brian Carpenter’s trumpet, Petr Cancura’s clarinet and Curtis Hasselbring’s trombone all get brisk solos.

Hot jazz cult bandleader Charlie Johnson is represented by You Ain’t the One, with its jaunty, staccato brass and low-key but determined Mazz Swift vocals – and Charleston Is the Best Dance After All, which winds up the album. Benny Waters’ Harlem Drag strongly suggests that the Rolling Stones nicked it, hook and all, for Spider & the Fly. There are two numbers from the catalog of late 20s Harlem composer/bandleader Cecil Scott & His Bright Boys: Bright Boy Blues, with its slowly swaying, luminously morose chart, and the more upbeat but similarly indigo-toned Springfield Stomp.

Fats Waller’s Alligator Crawl alternates droll mmm-hmmm backing vocals with spritely dixieland clarinet and vaudevillian muted trombone. Chicago bandleader Tiny Parham – celebrated along with Williams on Hothouse Stomp -has three numbers here. Skag-a-Lag sets a rapidfire series of cameos against an oldtimey levee camp hook; Down Yonder features a call-and-response chart and sudden, klezmer-tinged minor-key detours; the lickety-split stroll Friction calls on Hasselbring’s trombone, Swift’s violin and the rest of the band to be on tiptoe all the way through, and they are.

This one will get both the Gatsby wannabes and the rest of us out on the floor – or at least wishing we could afford to be there. This may be dance music, but it’s also rooted, sometimes front and center, sometimes less distinctly, in the blues, and the blues isn’t exactly happy-go-lucky stuff. Times weren’t easy, before or after the Crash of 1929 and the persistent undercurrent that runs throughout much of this material reflects that. The album’s not out yet, therefore no streaming link, but you can get a sense of the kind of fun this band generates at their Soundcloud page. And they always bring merch to shows.

May 20, 2015 Posted by | jazz, Music, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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.

October 12, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Brian Carpenter Resurrects Obscure Jazz Treasures from the Gatsby Era

Hothouse Stomp, the new album by Brian Carpenter’s Ghost Train Orchestra, captures a magical demimonde in American music from between roughly 1928 and 1931. Forget for a minute that by transcribing and arranging eleven now-obscure songs from that era, Carpenter has rescued them from the even smaller demimondes of 78 RMP record collectors and musicians who still play this kind of stuff. First and foremost, these rapidfire gems from Harlem and Chicago are some of that era’s coolest and most controversial party music, the P-Funk or hip-hop of that time. Kids danced to it until their feet hurt, and now so can you even if you can’t afford a Victrola or any those old 78s which now sell for ridiculous prices. On one level, many of the songs here have a quaintly frantic Keystone Kops vibe and a droll wit, but they also have a level of sophistication that far surpasses most of the era’s pop music. Duke Ellington and Jelly Roll Morton are the big names that everybody remembers, but at the top of their game Charlie Johnson, Tiny Parham and Fess Williams were just as good. Carpenter’s imaginative new charts pay homage to the originals while freeing them from the narrow time constraints of a 78. The band here plays them joyously, sometimes almost conspiratorially: Carpenter on trumpet, harmonica and vocals on one number; Dennis Lichtman on clarinet; Andy Laster on alto sax; Matt Bauder on tenor and alto sax and clarinet; Curtis Hasselbring on trombone; Jordan Voelker on viola and singing saw; Mazz Swift on violin and vocals; Brandon Seabrook on banjo; Ron Caswell on tuba and Rob Garcia on drums.

Carpenter opens the album with a big, dramatic harmonica crescendo and then they’re off. Mojo Strut, by Chicago-based Tiny Parham and His Musicians, has an brooding Ellingtonian minor-key intensity under its bouncy beat but also a drum break that’s practically Spike Jones, and some crazed conversation between the saxes at the end. With its lush strings beneath the romping tune, Stop Kidding, originally done by Harlem band McKinney’s Cotton Pickers, blends serious and silly in the span of barely two and a half minutes. Another Cotton Pickers number, Gee Baby Ain’t I Good to You (a popular staple of the oldtimey circuit), gets more of a New Orleans vibe with a good-natured alto solo, and matching vocals from Swift. Voodoo, by Parham, goes for a wary Black and Tan Fantasy feel with some quiet sizzle from the banjo on the way in and Voelker’s theremin-like saw building the atmosphere to somewhat crazed and dazed layers of horns. Harlem pianist Charlie Johnson’s Paradise Orchestra’s Blues Have Sure Got Me has a similar minor-key restraint, with the saw oscillating eerily behind Swift’s hushed, wounded voice.

A casually soulful, trombone-fueled, practically five-minute midtempo version of Johnson’s Hot Bones & Rice foreshadows how this stuff would morph into swing and dixieland. But enough of the intricacies of the music – as fun as it is to blast on the ipod, just try sitting still to the triumphantly swirling clarinet on Dixie Stomp, the lickety-split Lucky 3-6-5, the pensive sway of The Boy in the Boat, or Harlem bandleader Fess Williams’ seemingly calypso-flavored Slide, Mr. Jelly, Slide. They wrap up the album with a warm, summery Johnson tune, the surprisingly titled Hot Tempered Blues. If this often deliriously fun album piques your curiosity, some (but not all) of the originals can be streamed at the irreplaceable redhotjazz site if you have Real Audio.

March 15, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment