Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

World-Famous Big Band Celebrates Pantheonic Painters

Since prehistory, musicians have been inspired by visual art. But there’s never been a big band jazz album featuring works by multiple composers referencing paintings from across the decades. The new Jazz and Art record by the Jazz at Lincoln Center Orchestra with Wynton Marsalis – streaming at youtube – took almost a decade to create. New York’s most renowned big band premiered it live in 2010, playing to projections overhead. The vast stylistic range of the music mirrors the art that springboarded it, including works by Romare Bearden, Winslow Homer and Piet Mondrian.

The sheer fun that the composers here had writing for this mighty beast of an ensemble is visceral, and the orchestra reward those efforts lavishly. The album opens with a Stuart Davis-inspired triptych by Doug Wamble. The first segment, The Mellow Pad, is a moody, New Orleans-tinged cha-cha in the same vein as Tom Waits’ Down in the Hole, with spare, bluesy Vincent Gardner trombone at the center. Likewise, the second part is a paraphrase of When the Saints Come Marching In, with bright spotlights on Marcus Printup’s trumpet and Sherman Irby’s alto sax. The group take a pointed, almost tiptoeing swing through the ragtime-tinged conclusion, Dan Nimmer’s piano pushing it further into postbop.

Gardner contributes the epic Sam Gilliam shout-out Blue Twirl, developing slowly from Messiaenic birdsong-like chatter, to wry jesting, a silky clave and a brisk swing, bassist Carlos Henriquez signaling the changes. Marsalis, altoist Ted Nash and trombonist Elliot Mason punch in hard with solos.

Trombonist Chris Crenshaw gets the plum assignment of tackling Bearden’s iconic collage The Block with sweeping, jump blues-inspired swing, Nimmer pouncing, tenor saxophonist Victor Goines leading the group into a balmy Harlem evening. Coming full circle with a triumph at the end, it’s the album’s most vivid, memorable number.

Low brass and percussion build ominously looming ambience as trombonist Papo Vasquez’s salute to Wilfredo Lam, the Orisha Medley: Air, Earth, Fire, Water gets underway. Anchored by a steady Afro-Cuban groove, the composer hands his imposing solo off to Marsalis, who raises the roof, the whole crew joining the blaze.

Bill Frisell was an apt choice to pitch in a Winslow Homer-inspired diptych, an allusively folksy, bittersweet waltz and a boisterous jump blues, the latter of which is the most modernist number here. Nimmer’s elegant cascades and tenor saxophonist Walter Blanding’s enigmatic, airy work liven Andy Farber’s colorful, cinematic arrangements.

The lustrous introduction to trumpter Tim Armacost’s Mondrian tribute The Repose in All Things is a false alarm. It turns out to be a bright, bustling excursion, Irby buoyantly setting up trumpeter Ryan Kisor’s crescendo. The album winds up with Irby’s Twilight Sounds, for Norman Lewis, expanding joyously on a vaudevillian theme. If you like your jazz blazing, brassy and evoking decades of history, crank this record.

January 11, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Pianist Joe Gilman’s New Album Gets Synesthesia

A cynic would say that when musicians aren’t stealing ideas from each other, they’re stealing them from other artists. Some of the tracks on jazz pianist Joe Gilman’s new cd Americanvas seem to be an attempt to sonically interpret a series of fairly well-known works of visual art; others simply use the paintings as inspiration. More often than not, this approach works, in ways that are surprising and surprisingly fun. As one of the head honchos at the Brubeck Institute, Gilman has access to some of the world’s most promising up-and-coming jazz talent, and puts them to good use. Here he’s joined by saxophonists Ben Flocks and Chad Lefkowitz-Brown along with 19-year-old bassist Zach Brown and fearless 20-year-old drummer Adam Arruda, who absolutely owns this album.

Fast-forward past the opening cut, which is like Rick Wakeman at his most olympic. Instead, savor the devious, playful, absolutely spot-on Where the Wild Things Are, a Maurice Sendak homage – it has nothing to do with the movie and everything to do with the book. Arruda has a field day, in both senses of the word, with this, bounding and rumbling all the way through, ever-present but never to the point where the ostentation might get annoying. Gilman’s hop-skip-and-a-jump piano solo brings the adventure to the point where the monsters appear, the soprano sax goes modal and they go out in a quietly glorious, chordally-charged shimmer. Roy Lichtenstein’s Whaam! gets a bustling, rapidfire, unselfconsciously cartoonish rendering; Keith Haring’s Monkey Puzzle (no relation to the Saints album that preceded it) gets a surprisingly serious, straight-up swing treatment with expansive lyrical piano solo and genially smoky tenor sax. The standout piece in this gallery is, unsurprisingly, Nighthawks, which interprets the iconic Edward Hopper diner tableau as Huis Clos (look closely: there’s no exit). After Gilman’s slow noir ambience sets the stage, there’s a very long, very slowly unwinding tenor solo, and then a casually stunning shift: waiter? Garcon? Whichever the case, the alto sax offers a welcome break from the long, long night…until he leaves, and it’s back in Gilman’s lowlit fingers.

Romare Bearden’s classic New York at Night appears here as the vividly evocative Nocturne du Romare, Brown’s agile bass walking it lickety-split beneath late 50s-inflected solos around the horn. The moody, catchy Yellow, Red, Blue – a Rothko reference – echoes with Mulatu Astatke-ish circularity and another sudden shift from sinister to sunny, Arruda’s big, irresistibly fun, dramatic cymbal accents as effective here as they are in several other places on this disc. Other tracks here include a subtly interlocking exercise in contrapuntal melody and tempo shifts, and a viscerally anxious Scott Collard ballad carried by the reeds. It’s out now on Capri Records.

September 23, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment