Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Disquieting, Translucent Noir-Tinged Tunes and a Barbes Gig From Brian Shankar Adler’s Fourth Dimension

Said it before, time to say it again: good drummers have the best address books because everybody wants to play with them. Drummer Brian Shankar Adler‘s latest album Fourth Dimension – streaming at Bandcamp – is the latest to validate that argument, a darkly syncopated collection equally informed by minimalist 20th century music, Indian sounds and noir cinematics. Chances are he’ll be airing out plenty of this material at his gig at Barbes on Feb 20 at 8 PM. The eclectic, funky Sugartone Brass Band play after at around 10.

The album opens with a minimalist indie classical-style variations on a simple 1-5-octave piano riff from Santiago Liebson. Mantra is where vibraphonist Matt Moran and guitarist Jonathan Goldberger come in: it’s a syncopated take on ominous Twin Peaks jazz, guitar in place of the faux Miles trumpet that Angelo Badalementi would undoubtedly use here.

A Goldberger drone offers a backdrop to eerily dripppy vibes and piano as Rudram coalesces, then bassist Rob Jost loops a tasty Indian-tinged chromatic riff followed by blippy exchanges among the band: Rez Abbasi‘s more concise work comes to mind.

In Pulses, Goldberger holds down the lows while Moran balances the top end and the bandleader gets blustery, up to an unexpectedly windswept, sirening outro. Windy Path is less gusty than just oddly and creepily stairstepping: a cut and pasted take on broodingly catchy Britfolk, maybe. Gowanus – for out-of-towners, that’s the stinky Brooklyn canal, reputedly home to many, many corpses – rises from an acidic pool of sounds to a hypnotic, grimly funky groove lit up by the interplay between piano and vibes.

Watertown has a suspiciously bouncy, quasi nursery rhyme theme bookending a careening guitar break. Goldberger busts out his flange for Nuearth, a lingeringly woozy pastoral tune that Adler very cleverly syncopates around an enigmatically Romantic piano interlude. Petulant polyrhythms dominate the staggered mash of ideas in Pendulum, while the similar Rise and Fall leans toward the careeningly bucolic material Tom Csatari was writing a couple of years ago.

Thw band wind up the album with Alternative Facts, another bouncy metric maze that’s too crazy to believe despite hints of calypso and a ridiculous vibraphone solo. Fans of artists as diverse as the aforementioned Mr. Badalamenti, Kneebody and Chris Dingman should check out this strange and individualistic crew.

February 15, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Concert Review: Serena Jost at Banjo Jim’s, NYC 12/21/07

Arguably the best show we’ve ever seen her do. We’ve given Serena Jost a lot of space here this year, because she’s earned it. A cellist by trade, she did a long stretch in Rasputina before hanging out her own shingle. Tonight she started out on acoustic guitar, then switching to piano, then to cello and so forth. The songs in the set, a mix of new material and stuff from a long-overdue full-length cd were a richly melodic grab-bag of styles, from jazz to chamber-rock, with bits of gospel and surf music added for extra spice. Jost’s work is very intricate and very playful, and it was clear that the band of Julian Maile on reverb-drenched Fender guitar, Rob Jost (no relation) on upright bass and Rob DiPietro on drums were having a great time up there (after a crowd of fans, the bartender and another great songwriter each took a turn at the sound board, trying to get it working properly – the sound is always hit and miss here).

One accident of having dodgy sound was that it forced Jost to run her acoustic through the club’s little Peavey amp which was turned up to where it was about to break up into distortion. How fortuitous that was: suddenly the songs had a grit and a growl they’d never had before, and they liked it! One of the highlights of the night was the bouncy, irresistibly catchy piano pop hit Vertical World, which as it turns out may be about how New York is changing for the worse – Jost’s lyrics are very subtle, so it’s hard to tell – but at the end of the second verse, she ends up sardonically grinning, “here I am, in Krispy Kreme!” Another tune, I Wait, is something of a mini-epic that turns into a surf instrumental about halfway through. Maile played a mix of finely refined skronk and classic Ventures licks, ending his solo with some fast tremolo picking a la Dick Dale. Serena Jost jumped in and continued the solo, playing the same lick staccato on cello and the effect was mouth-watering. Her almost-namesake on bass (whose name is pronounced with a J instead of a Y) played sinuous, fast fills, sneaking in effortlessly to make a contribution to the melody whenever he had the chance. DiPietro felt the room perfectly and didn’t hit too hard, although he had plenty of opportunities to contribute to the songs’ crescendos and nailed all of them. It’s always more fun when the band themselves are clearly having a good time: tonight was a prime example. Serena Jost is doing a cd release show early next year, watch this space for details.

December 22, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , | Leave a comment