Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Stormy, Epically Relevant Jazz Standard Show by Darcy James Argue’s Secret Society

In their late set last night at the Jazz Standard, Darcy James Argue’s Secret Society threw caution to the wind with a stormy, careeningly dynamic career retrospective of sorts. Which isn’t what you might expect from the conductor’s intricate, tightly clustering compositions. But this era’s most thrilling, relevant large jazz ensemble’s approach perfectly fit his material’s relentless angst, white-knuckle suspense and cynically cinematic, Shostakovian portraiture.

Argue’s albums are meticulously orchestrated and produced – which is not to imply that they suffer from the digital sterility of so many big band albums these days. Even so, this show was especially fresh and full of surprises. The group opened somewhat counterintuitively with an older tune, Flux in a Box – Argue explained that he took the title of the subtly polyrhythmic, Jim McNeely-like number, with its cell-like mini-spirals and bursts, from a vast, sarcastic fictitious filmography in a David Foster Wallace novel. Alto saxophonist Alexa Tarentino chose her moments carefully for variations on staggered, fragmented phrases, pianist Adam Birnbaum offering comfortably lyrical contrast.

Then they immediately launched into the ferocious, fearlessly political material Argue has made a name for himself with in recent years. First was a series of tunes from his withering critique of gentrification, Brooklyn Babylon, kicking off with Matt Clohesy’s mighty bass chords, Sebastian Noelle’s resonant guitar astringencies, a vividly nightmarish portrait of grand construction schemes run horribly amok. Seemingly hell-bent on getting to the end, they leapt through tense pairings of instruments among the band’s eighteen members to a harried take of Coney Island, which was strangely more enigmatic here than the album’s horror-stricken, plaintive coda.

Three pieces from the group’s latest conspiracy and conspiracy theory-themed album, Real Enemies were next on the bill. Amped up to a level remarkable at this sonically pristine spot, The Enemy Within came across as a mashup of the Theme from Shaft and the Taxi Driver theme as done by an epic version of John Zorn’s Spy Vs. Spy, maybe. Dark Alliance had wry woozy P-Funk textures grounded by relentless Bernard Herrman-esque glimmer and ghostly flickers, alto saxophonist Dave Pietro resisting any possible urge to find any kind of resolution in his exquisitely troubled, modal solo. A duel with trombonist Ryan Keberle followed – not waterboarder and waterboardee, but allusively so.

The last of the triptych was the mighty, swaying Trust No One, Carl Maraghi’s serpentine baritone sax solo giving way to a sudden dip to creepy knock-knock riffs, deep-space pointillisms from Birnbaum and Noelle jumpstarting a flitting poltergeist choir from the saxes. They closed with Transit and its fiery, cloudbursting drama. Argue explained that he’d written it on a Fung Wah bus enroute from Boston to Chinatown – no wonder it’s so scary! In that context, the constant dodges between phrases rushing by, not to mention the irresistibly fun trick ending, made perfect sense. Trumpeter Jason Palmer’s solo turned out to be more of an expert series of Route 495 twists and turns than the launching pad for pyrotechnics that it usually is in concert. The takeaway: a frequently riveting performance by a crew also including but not limited to multi-reedman Sam Sadigursky, trumpeters Seneca Black and Nadje Noordhuis; trombonists Jacob Garchik, Mike Fahie and Jennifer Wharton and drummer Jon Wikan.

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August 30, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Camila Meza Brings Her Disarmingly Direct Voice, Guitar and Unflinching Political Sensibility to the West Village

Camila Meza’s lustrous, wondrous, disarmingly clear vocals mirror the way she plays guitar. For that reason, she’s highly sought after. She’s the not-so-secret weapon in trombonist Ryan Keberle’s group, and also plays a central role in Fabian Almazan’s large ensemble. She’s as vivid a lyricist in English as in her native Spanish; when she sings vocalese, she’s more likely to harmonize with a guitar line than to imitate a postbop horn solo.

That often shatteirngly direct sensibility serves her songwriting well. Her work has a fearless political relevance, inspired by decades of populist songwrirting from throughout Latin America. Her most recent album Traces is streaming at Sunnyside Records. She’s playing a characteristically politically-fueled show with pianist Aaron Goldberg on May 10 at 8 PM at Greenwich House Music School; cover is $15/$10 stud.

The album opens with Para Volar, a bright, gently churning melody underneath her Spanish-language lyrics, an allusively triumphant shout-out to freedom and escape, a common theme in the Chilean-born Meza’s music. Her guitar bubbles and leaps over the lithe rhythm section of bassist Matt Penman and drummer Kendrick Scott, pianist Shai Maestro kicking into his driving low register as Meza’s solo peaks out. She revisits that optimism a little later in the album’s kinetic title track, where she turns up her guitar and cuts loose, more gritty and lowdown.

Jody Redhage’s spare cello and Maestro’s sparkly Rhodes mingle with Meza’s gentle fingerpicking in Away, a wistful, hypnotic duet with Sachal Vasandani. Meza’s precise, clipped vocals leave no doubt as to the deadly consequences in Djavan’s bitter eco-disaster narrative Amazon Farewell, Maestro adding a richly incisive, darkly rippling solo.

Mar Elastico is an enigmatically hazy, summery reminiscence of Meza’s childhood adventures with her sisters, Maestro’s Rhodes front and center; Scott’s distant-tornado cymbals behind Meza’s delicate jangle is one of the album’s high points. She switches to acoustic for a spare solo take of the Victor Jara classic Luchin. an allusively harrowing tale of resilience amidst crushing childhood poverty. 

The uneasy piano-guitar harmonies in Steven Sondheim’s Greenfinch and Linnet Bird give the selfconsciously fussy ballad a welcome gravitas. Meza returns to the expectantly circling, distant yet optimistic intensity of the early part of the album in Emerald: the mantra is “There’s no need to hide now.”

The album’s most elusive yet arguably strongest track is the lush, sweeping Mangata, a metaphorically-charged refugee’s escape anthem, Meza’s stark, emphatic chords against Maestro’s neoromantic glimmer. The album ends with the self-effacingly modest Little Person – the spare, rather trad closing theme from the Philip Seymour Hoffman film Synecdoche New York-  projecting the hope of “finding another little person,” as Meza puts it. What Meza has found here in the US is a fertile crucible for her many talents, all of which are still in their formative stages. Catch her on the way up.

May 5, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

High-Voltage Suspense and State-of-the-Art Big Band Jazz From Darcy James Argue’s Secret Society Uptown Saturday Night

The suspense was relentless throughout Darcy James Argue’s Secret Society’s sold-out concert Saturday night at the Miller Theatre. Although a couple of numbers on the bill had genuinely visceral suspense narratives, there was no central mystery theme. That’s just the way Argue writes. What a thrill!

Throughout the show, four of the composer/conductor’s favorite tropes jumped out over and over again: artful variations on simple, acerbic hooks; circular phrases that widened and sometimes contracted; unexpected pairings between instruments, and high/low contrasts that often took on a sinister quality. Gil Evans did a lot of that, but drawing on vintage swing; Argue does that with just as much symphonic sweep, but more acidic harmonies.

Obviously, with a eighteen-piece big band, there was a whole lot more to the night than just that. They opened the first of their two marathon sets with Phobos, a mighty showstopper from the group’s debut album Infernal Machines, inspired by the moon of Mars which will someday either crash into the planet or shatter under the force of gravity. Drummer Jon Wikan’s first ominously shuffling notes of the night introduced bassist Matt Clohesy’s grim, gothic riffs that bookended the piece, guitarist Sebastian Noelle’s smoldering chords looming behind the steady interweave of brass and reeds. Tenor saxophonist John Ellis’ lyrical solo proved to be a red herring.

They’d revisit that catchy, cinematic ominousness with a pulsing take of Transit, seemingly slower and more portentous than the album version, to close the first set with a mighty, cold ending that nobody but the band could see coming.

Blow-Out Prevention, a shout-out to Argue’s late influence Bob Brookmeyer, juxtaposed bright but astringent brass harmonies against a shifting, lustrous backdrop. All In, a tribute to the late, longtime Secret Society mainstay and “trumpet guru” Laurie Frink, got a Nadje Noordhuis trumpet solo which offered somber homage to her old bandmate, then took a triumphantly spiraling turn and eventually wound down against pianist Adam Birnbaum’s stately, Satie-esque minimalism.

Codebreaker, a salute to Alan Turing, bristled with spy-movie twists and turns but never went over the edge into John Barry-style menace. The second set was a performance of Argue’s recent, mammoth, labyrinthine Tensile Curves, inspired by Ellington’s Crescendo and Diminuendo in Blue. The bandleader, who was in rare form as emcee, explained that he’d decided to assemble the piece – a commission requiring a full forty minutes of music – as a study in subtle rhythmic decelerations. And much as it was a clinic in the use of that effect, it also was packed with innumerable dynamic shifts, a wryly squirrelly Sam Sadigursky clarinet solo, a much longer and eventually wildly churning one from trombonist Ryan Keberle, and a characteristically translucent one from trumpeter Adam O’Farrill – among other things.

Animatedly loopy phrases filtered throughout the ensemble, from a snide, nagging introductory theme through a final comfortable touchdown on the runway. Let’s hope this mighty tour de force makes it to the web – and maybe even a vinyl record – sooner than later. A towering performance for the rest of the crew, including but not limited to saxophonists Dave Pietro and Rob Wilkerson, baritone saxophonist Carl Maraghi, trumpeters Seneca Black, Matt Holman and David Smith, trombonists Mike Fahie, Jacob Garchik and George Flynn.

The next show at the Miller Theatre is on Feb 13 at 6 PM with the Mivos Quartet playing new works by  Marisol Jimenez, Jeffrey Mumford, their own Victor Lowrie and Mariel Roberts. It’s one of the wildly popular free concerts here. Get there close to when the doors open at 5:30 and there might be free beer or wine; show up later and there probably won’t be.

February 6, 2018 Posted by | jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Sardonically Sinister Evening with Darcy James Argue’s Secret Society

It was a grim, grey day, sticky with global warming-era humidity. No sinister force could have conjured a more appropriate atmosphere for a concert inspired by conspiracy theories. As the eighteen-piece Darcy James Argue’s Secret Society assembled onstage this evening at National Sawdust for the album release show for their new one, Real Enemies, the trumpeters clustered around the piano, back to the audience. What on earth were they conspiring about?

The opened the show by playing into the piano: in other words, blowing into an echo chamber. The hint of natural reverb enhanced the squirrelly exchange of brass phrases, and the visual matched the music. This wasn’t the chattering groupthink that would recur several times, to mighty effect, throughout the concert, a performance of the new album in its entirety. Rather, this seemed to be a portrait of a paranoid personality, or personalities, all lost in their own universes and echoing only themselves. On album, the effect is unsettling; live, it was nothing short of comedic. But nobody in the crowd laughed.

The group’s previous album, Brooklyn Babylon, blended rat-a-tat Balkan brass, sardonically loopy prog-rock riffage, even more savage faux-pageantry and a blustery unease. This new album is closer to Stravinsky or Shostakovich in its darkest moments, which predominate what’s essentially a contiguous thirteen-part suite best experienced as a whole. The project, drawing on Kathryn Olmsted’s 2009 book Real Enemies, first took shape as a multimedia collaboration between composer/conductor Argue, writer/director Isaac Butler and filmmaker Peter Nigrini at BAM’s Next Wave Festival in the fall of 2015. This performance also featured voiceovers and samples – triggered by Argue from the podium – including some pretty killer quotes from George W. Bush (“We can’t wait any longer!” twice, from the days leading up to the invasion of Iraq), JFK and others. The suite wound up with the band swaying along to a long narration examining the paranoid mindset, actor James Urbaniak’s steady cadences echoing from the speakers overhead. Hardly an easy task for the group to stay locked in, but they .swung along with it

This is an amazing band. Brooklyn Babylon is punctuated by a series of miniatures which pair unusual combinations of instruments; Argue also pairs off instruments in this series of compositions, but more traditionally. The most spine-tingling one was early on, trombonist Ryan Keberle’s frenetic, deep-blues spirals up against Nadje Noordhuis’ resonant, angst-tinged flugelhorn. At the end, trumpeter Ingrid Jensen spun and dipped while tenor saxophonist Dave Pietro channeled his own sputtering galaxy, one of many caustically illustrative moments. And a deep-space duet between Adam Birnbaum – switching from grand piano to an echoey electric model – alongside guitarist Sebastian Noelle’s spare, austere lines was only slightly less cold and cynical.

Argue is an amazing composer. Withering humor was everywhere: in the constant, flittingly conversational motives, in subtle shifts from balminess to icy, Morricone-esque menace, and in the choice of samples, a couple of them seemingly tweaked from the album for extra irony. Lights and darks, highs and lows hung and swung in the balance as the composer – rocking a sharp suit and a sharp, short new haircut, maybe for extra sarcasm – calmly directed the ensemble through them. Maria Schneider may be the consensus choice as the standard of the world for big band composition, and she’s earned it (and has a political sensibility no less perceptive than Argue’s), but Argue’s work is just as strong. And this concert reaffirmed that he’s got a world-class crew to play it. This edition of the band included but wasn’t limited to most of the players on the album: multi-reedmen Lucas Pino, Peter Hess, Rob Wilkerson and Carl Maraghi; trumpeters Seneca Black, Jonathan Powell and Jason Palmer; trombonists Mike Fahie and Jennifer Wharton; multi-bassist Matt Clohesy and dynamic drummer Jon Wikan.

Darcy James Argue’s Secret Society plays the album in its entirety at the Boston Museum of Fine Arts at 465 Huntington Ave. on Oct 7 at 7:30 PM; general admission is $25.

October 2, 2016 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The New Album by Darcy James Argue’s Secret Society Explores the Menace and Monkeyshines of Conspiracy Theories

The term “conspiracy theory” was invented by the right wing as a facile way to dismiss investigative reporting, lumping it in with farcical myths about aliens and Zionists. As actor James Urbaniak narrates at the end of Real Enemies – the groundbreaking new album by innovative large jazz ensemble Darcy James Argue’s Secret Society, streaming at Bandcamp – the right wing has actually been responsible for spreading many of those theories as disinformation in order to hide their own misdeeds. Argue and his eighteen-piece big band explore both the surreal and the sinister side of these theories – “You have to choose which ones to believe,” the Brooklyn composer/conductor told the audience at a Bell House concert last year. This album is a long-awaited follow-up to Argue’s shattering 2013 release Brooklyn Babylon, a chronicle of the perils of gentrification. The group are playing the release show on Oct 2 at 7 PM at National Sawdust; advance tix are $30 and are going fast. From there the band travel to the Boston Museum of Fine Arts, where they’ll be playing on Oct 7 at 7:30 PM; general admission is $25.

Although Brooklyn Babylon has the occasional moment of grim humor on its way to a despairing oceanside coda, this album is more overtly dark, but also funnier. Conversations between various groups of instruments abound. Most are crushingly cynical, bordering on ridiculous, in a Shostakovian vein. And once in awhile, Argue lifts the curtain on a murderously conspiratorial moment. A prime example is Dark Alliance, an expansively brassy mashup of early 80s P-Funk, salsa romantica and late-period Sun Ra. And the droll/menacing dichotomy that builds throughout Silent Weapon for Quiet Wars is just plain hilarious.

The album opens on a considerably more serious note with You Are Here, a flittingly apt Roger Waters-style scan of tv headline news followed by tongue-in-cheek, chattering muted trumpet. A single low, menacing piano note anchors a silly conversation as it builds momentum, then the music shifts toward tensely stalking atmospherics and back. The second track, The Enemy Within opens with a wry Taxi Driver theme quote, then slinks along with a Mulholland Drive noir pulse, through an uneasy alto sax solo and then a trick ending straight out of Bernard Herrmann.

With Sebastian Noelle’s lingering, desolately atonal guitar and Argue’s mighty, stormy chart, Trust No One brings to mind the aggressively shadowy post-9/11 tableaux of the late, great Bob Belden’s Animation. Best Friends Forever follows a deliciously shapeshifting trail, from balmy and lyrical over maddeningly syncopated broken chords that recall Peter Gabriel-era Genesis, to an explosively altered gallop with the orchestra going full tilt. Likewise, The Hidden Hand builds out of a blithe piano interlude to cumulo-nimbus bluster.

The Munsters do the macarena in Casus Belli, a scathing sendup of the Bush/Cheney regime’s warmongering in the days following 9/11. Crisis Control opens with a mealy-mouthed George W. Bush explaining away the decision to attack Afghanistan, and contains a very subtle, ominous guitar figure that looks back to Brooklyn Babylon: clearly, the forces behind the devastation of great cities operate in spheres beyond merely razing old working-class neighborhoods.

Caustically cynical instrumental chatter returns over a brooding canon for high woodwinds in Apocalypse Is a Process, seemingly another withering portrait of the disingenuous Bush cabinet. Never a Straight Answer segues from there with burbling, ominously echoing electric piano and Matt Clohesy’s wah bass, talking heads in outer space. The apocalyptic cacaphony of individual instruments at the end fades down into Who Do You Trust, a slow, enigmatically shifting reprise of the opening theme.

Throughout the album, there are spoken-word samples running the gamut from JFK – describing Soviet Communism, although he could just as easily be talking about the Silicon Valley surveillance-industrial complex – to Dick Cheney. As Urbaniak explains at the album’s end, the abundance of kooky speculation makes the job of figuring out who the real enemies are all the more arduous. As a soundtrack to the dystopic film that we’re all starring in, whether we like it or not, it’s hard to imagine anything more appropriate than this. And it’s a contender for best album of 2016.

September 29, 2016 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Pedro Giraudo Big Band Bring Their Pan-American Intensity to the Jazz Standard

Pedro Giraudo is one of the most sought after bassists in New York. Born in central Argentina, he’s unrivalled as a tango bass player, but he’s also immersed himself in several jazz styles. His dedication to the latter is borne out by not one but two albums of soaring, adrenalizing original big band music. The latest one, Cuentos, is streaming at Spotify. He and the latest incarnation of his long-running large ensemble are playing a couple of sets tonight April 12 at 7:30 and 9:30 PM at the Jazz Standard. Cover is $25.

The album’s ambitious opening track, Muñeca makes very clever, blustery, pulsing fun out of a merengue groove, trombonist Ryan Keberle adding a long, bittersweetly soulful solo over pianist Jess Jurkovic’s practically frantic, incisive drive, followed by a precise round-robin throughout the band and then a return to moodily circling, Darcy James Argue-ish riffage. This doll is a trouble doll!

Giraudo dedicates the epic four-part Angela Suite to his daughter. Replete with various bulked-up Argentinian folk rhythms, it opens with a warily swinging, dynamically-driven, tango-inflected Overture – guessing that’s the excellent Alejandro Aviles on the spiraling alto sax solo that rises to a harried peak before Jurkovic’s powerful turn into brighter territory. The tiptoeing, misterioso false ending is a real trick since Jurkovic gets to take it out on a warmly bluesy note.

Part two, Ojos Que Non Ver (Eyes That Don’t See) opens with a moody trumpet/piano dialogue before the clouds break and the orchestra enters, but the trumpet takes it down again as the emotional roller coaster goes on. A waltz, creepily tinkling piano and a momentary. horrified, chaotic breakdown segue into the tiptoeing, suspenseful, lavishly lyrical La Rabiosa (The Rabid One). The bright, angst-fueled brass juxtaposed against the ominous pedalpoint of the low reeds – and a haggardly bristling Carl Maraghi baritone sax solo – brings to mind Chris Jentsch‘s cult classic Brooklyn Suite. This suite winds up with a mighty return to the opening theme

The ballad La Ley Primera (Rule #1) gives tenor saxophonist John Ellis a platform for a tender, lyrical solo as the ambience behind him grows more lushly enigmatic, up to swirling neo-baroque figures throughout the band. El Cuento Que Te Cuento builds off a circular Maraghi bass clarinet riff over a trip-hop rhythm, up to the most easygoing and retro swing theme here – although it quickly crescendos to an uneasily majestic bossa interlude capped off by a long, brooding trumpet solo.

Push Gift builds quicly out of individual voices to a catchy circle dance with a wry Dave Brubeck reference, restless  (and sometims cynical) reeds and piano paired against lustrous brass, a creepy gothic piano/tenor duet and a bittersweetly lively coda. The final number, Nube (Cloud) is the most retro track here, an uneasily dynamic jazz waltz. This isn’t carefree, bubbly latin jazz: it’s an intense and richly nuanced, intense. thoughtful performance from a talented ensemble also including but not limited to trumpeters Jonathan Powell, Josh Deutsch and Miki Hirose; tenor saxophonist luke Batson; trombonists Mike Fahie, Mark Miller and Nate Mayland; drummer Franco Pinna and percussionist Paulo Stagnato.

April 12, 2016 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Lively, Richly Arranged New Big Band Album and a Smalls Show from Emilio Solla

Pianist Emilio Solla writes colorful, rhythmic, ambitiously orchestrated music that could be called latin jazz, but it’s a lot more eclectic and global in scope than your basic salsa vamp with long horn solos. Like his music, Solla is well-traveled: born in Argentina and now in New York for the past decade after a long stopover in Spain. His new album Second Half with his brilliant nine-piece ensemble La Inestable de Brooklyn – streaming at Spotify– draws equally on Piazzolla-inspired nuevo tango, Brazilian, Spanish Caribbean and American jazz sounds. Solla and his mighty group have a show this Sunday, May 7 at 4:30 PM at Smalls; cover is $20, and you get a drink with that.

The band comprises some of the more adventurous jazz players in New York: Tim Armacost on saxophones and alto flute; John Ellis on tenor sax, flute and bass clarinet; Alex Norris on trumpet, Ryan Keberle on trombone; Meg Okura on violin; Victor Prieto on accordion; Jorge Roeder on bass and Eric Doob on drums. Much as the title of the opening track, Llegará, Llegará, Llegará, implies that there’s something just around the corner, it’s a nonstop series of bright, incisive, alternating voices over a galloping, samba-tinged groove, a real roller-coaster ride, as lush as it is protean.It’s especially interesting to hear Solla’s original here, compared to the blistering cover by bagpiper Cristina Pato, which is practically punk rock by comparison.

The second track, Chakafrik has a brass-fueled Afro-Cuban flavor subtly spiced with accordion and violin and more of those intricately intertwining, polyrhythmic exchanges of riffs from throughout the group. The Piazzolla-inspired Para La Paz brings the volume and tempo down somewhat, but not the energy, lit up by warmly lyrical solos from tenor sax and trumpet up to a big, lush crescendo.

The first part of Solla’s epic Suite Piazzollana (his Spanish group Afines did the second) takes a bouncy folk theme in all sorts of directions: how do you say dixieland in Spanish? Tierra del sur? From there, Solla builds a long, exploratory piano solo, then the band take a judicious, rather tender interlude, Norris’ resonant trumpet paired against Okura’s uneasy staccato violin. The long build out from there makes the group sound twice as large as it is, with their constant exchanges of riffage.

Esencia sets bright, hefty newschool big band textures over an altered clave beat, Solla’s rather droll, vamping second solo kicking off a big, rapidfire, bustling coda. American Patrol is a jovial blend of Mexican folk and New Orleans swing – when the quote from the cartoon comes in, it’s impossible not to laugh. Raro, a bustling, cinematically swinging number, edges toward the noir, with more tasty trumpet-violin jousting and a very clever switch from dancing, staccato brass to brooding nuevo tango orchestration. The last track is Rhythm Changed, another very clever arrangement, with its understated polyrhythms and uneasy harmonies from throughout the band circulating through a pretty standard midtempo swing tune. Throughout the album, the performance is tight and driving but also comfortable: this crew obviously has a good time playing this material, and it’s contagious. Not what you might expect from a group who call themselves “The Brooklyn Unstable.”

June 3, 2015 Posted by | jazz, latin music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Maria Schneider Orchestra Bring a Luminous, Relevant New Album to a Stand at Birdland

To pigeonhole the Maria Schneider Orchestra‘s latest magnum opus, The Thompson Fields. as pastoral jazz downplays its genuinely extraordinary beauty and epic sweep. But a musicologist would probably consider how much the vast expanses of the Minnesota prairie where Schneider grew up have influenced her writing. To call Schneider this era’s paradigmatic big band jazz composer would also be just part of a larger picture: among this era’s composers in any style of music, only Kayhan Kalhor and Darcy James Argue reach such ambitious and transcendent peaks. She’s bringing her Orchestra to a stand at Birdland this week, June 2 through 6 with sets at 8:30 and 11 PM.

As is her custom, Schneider’s compositions go far, far beyond mere vehicles for extended solos, although the solos here are exquisite and serve as the high points they ought to be. Scott Robinson’s alto clarinet dipping between heartfelt lows and airily triumphant swells on the opening number, a newly reorchestrated take of the early-morning nocturne Walking by Flashlight – from Schneider’s previous album Winter Morning Walks – sets the stage.

That number is the shortest one here: the rest of the album builds an expansive, dynamically rich Midwestern panorama. All of Schneider’s familiar tropes are in top form: her use of every inch of the sonic spectrum in the spirit of her mentor Gil Evans; endless twists and turns that give way to long, lushly enveloping, slow upward climbs; and her signature, translucent, neoromantically-influenced tunesmithing. Marshall Gilkes’ looming trombone and Greg Gisbert’s achingly vivid flugelhorn illuminate The Monarch and the Milkweed, a pensively summery meditation on the beauty of symmetry and nature. Robinson’s baritone and Donny McCaslin’s tenor sax take to the sky in Arbiters of Evolution, a labyrinthine, pulsing, slowly unwinding portrait of birds in flight (perhaps for their lives – as in much of Schneider’s work, there’s a wary environmentalist point of view in full effect here).

Frank Kimbrough’s piano and Lage Lund’s guitar carry the title track from its gentle, plainspoken intro through an unexpectedly icy interlude to gracefully dancing motives over lush waves of brass. The most pastoral of all the cuts here is Home, graced by Rich Perry’s calm, warmly meditatitve tenor sax. Then the orchestra picks up with a literally breathtaking pulse, inducing g-forces as Nimbus reaches its stormy heights, Steve Wilson’s alto sax swirling as the cinematics unfold. As a portrait of awe-inspiring Midwestern storm power, it’s pretty much unrivalled.

Gary Versace’s plaintive accordion takes centerstage amidst a rich, ominously brooding brass chart in the intense, elegaic A Potter’s Song, dedicated to the late, great trumpeter and longtime Schneider associate Laurie Frink. The album winds up on a joyously Brazilian-flavored note with Lembranca, inspired by a pivotal moment in Schneider’s life, spellbound by a carnival drum orchestra, Ryan Keberle’s trombone and Jay Anderson’s bass adding color and bouncy energy.

The album, a crowdfunded endeavor comprising newly commissioned works, comes in a gorgeously illustrated full-color digipak with extensive and articulate liner notes from the composer. Like a couple other pantheonic artists, Richard Thompson and Olivier Messiaen, Schneider is also a birder, and her commentary on current environmental crises affecting the avian world and her beloved prairie home turf are spot-on. Where does this fall in the Schneider catalog? It’s hard to say: there’s the ambition and scope of, say, Concert in the Garden, but also the saturnine majesty of Winter Morning Walks. It’s a new direction for her, no surprise considering how often she’s reinvented herself. And while it doesn’t seem to be up at the usual spots, i.e. Spotify and such, you can get completely lost in the radio feature at Schneider’s webpage. It’s the best possible advertising this album, and her work as a whole, could possibly have.

May 30, 2015 Posted by | classical music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Ryan Truesdell’s Gil Evans Project Does It Again Live at the Jazz Standard

Pretty much everybody, at least in the jazz world, agreed that Centennial: Newly Discovered Works of Gil Evans, by conductor and Evans scholar Ryan Truesdell’s Gil Evans Project, was the best album of 2012. You rarely see that kind of consensus. Even for an ambitious jazz bandleader, it was an enormously labor-intensive achievement. Truesdell also left himself little wiggle room for a sequel: pretty much anything was destined to be anticlimactic. So Truesdell – who has probably spent more time unearthing rare and previously unknown Evans compositions and arrangements than anyone else – flipped the script. Rather than emphasizing the iconic big band composer’s genre-smashing, paradigm-shifting later works, the group’s new live album, Lines of Color features a lot of older material. It’s also on the upbeat side: Evans’ music is Noir 101 core curriculum, and what’s here tends to be more lighthearted than Evans typically is. So there’s another cult audience – the oldtimey swing crowd – that will probably love this if they get to hear it. You can hear this mighty, stormy, dynamically rich, twenty-plus-piece group when they play their annual residency at the Jazz Standard starting this Thursday, May 14 and running through the 17th, with sets at 7:30 and 10 PM. It’s pricy: $30, and $35 on the weekend, but it’s worth it. Remember, the club doesn’t have a drink minimum (although they have a delicious and surprisingly affordable menu if you feel like splurging).

The new album opens with a punchy, sleek take of the noir waltz Time of the Barracudas, from the iconic 1964 album The Individualism of Gil Evans. On the heels of a bouncy Marshall Gilkes trombone solo, tenor saxophonist Donny McCaslin takes it up with an aptly marionettish pulse through a series of a playful hints at endings. The band follows by reinventing Bix Beiderbecke’s Davenport Blues as a lustrous slow drag, Mat Jodrell’s trumpet carrying its triumphant New Orleans tune much of the way. This version is notable for being exactly the way Evan originally wrote it before many better-known revisions, right down to the second line-flavored break midway through.

Avalon Town both embodies its dixieland origins and transcends them – those oceanically eerie close harmonies as it opens are a prime example of how Evans could take something utterly generic and make magic out of it. And you thought you knew (or wish you’d forgotten) Greensleeves? Just wait til you hear the mighty outro and warily tasty Marshall Gilkes trombone solo that concludes it.

John Lewis’ Concorde, another track from The Individualism of Gil Evans, has more of a jet-age ebullience and plushness than the uneasily bossa-tinged original – here Lois Martin’s viola plays Lewis’ original righthand figure for piano. Singer Wendy Gilles does a marvelously nuanced job, ranging from fullscale angst to playful cajolery on Can’t We Talk It Over, over a pillowy backdrop with Evans’ signature high reed/low brass dichotomy. Later on, she offers an elegantly cheery take of Sunday Drivin’.

Gypsy Jump, an early work from 1942, reveals that already Evans was doing things like hinting at Tschaikovsky and opening with a figure he’d recycle memorably later on with Miles Davis. It’s lternately neblous and disarmingly oldtimey, McCaslin’s sax enhancing the former and Steve Kenyon’s clarinet the latter. Then the band makes a medley of Easy Living, Everything Happens to Me – centered around Gilles’ heartfeld, angst-driven, tersely bluesy phrasing – and another Johnny Mercer tune, Moon Dreams, which builds to a galactic sweep, dreamy JMW Turner colors over that omnipresent low, murky pulse.

Just One of Those Things is another mashup of vintage swing and lush sophistication, Steve Wilson’s purposefully fluttering yet unresolved soprano sax solo at the center. The album ends with a take of How High the Moon that’s on the slow side – at least for a song that so often gets played lickety-split – with an exchange of barely bar-length solos frou throughout the band, bassist Jay Anderson and drummer Lewis Nash pushing it with what’s practically a shuffle beat. You like epic? You like counterintuitive? You like venues with exquisite sound? The album was recorded in this very same space, most likely in front of a sold-out house, but it’s a big-studio quality production. Some if not all of it is up at Truesdell’s webpage along with tracks from that amazing first album.

May 12, 2015 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Rufus Reid’s Big Band Delivers Sophistication and Tradition at the Jazz Standard

There was a lot of fun onstage last night at the Jazz Standard. There was a downwardly spiraling, menacingly chromatic Freddie Hendrix trumpet solo that might have been the higlight of the evening. There was an animated conversation between flugelhornist Scott Wendholt and pianist Steve Allee that emerged from two deep-space tangents. Guitarist Vic Juris supplied genially bubbling, melismatically warping interludes; tenor saxophonist Scott Robinson, bass clarinetist Carl Maraghi and trombonist Ryan Keberle took turns contributing judicious, purist, blues-infused lines when called on to take centerstage. But that’s the least of what was going on.

Big band jazz sometimes gets a rap for being simply a vehicle for solos: Phish with horns. And if you’ve got twenty people the caliber of the players in Rufus Reid‘s group, there’s no limit on where they can take the music. But despite the starpower on the bandstand, the large ensemble’s current stand here – which continues through March 1, with sets at 7:30 and 9:30 PM – is all about compositions. Reid has a hall of fame career as a sideman, but in recent years he’s devoted himself to composing. Last night’s opening set was marked by gravitas, and depth, and lustrously shifting segments, most of the numbers taken from Reid’s vivid, politically aware album Quiet Pride: The Elizabeth Catlett Project.

Reid left no doubt how much inspiration he’s drawn from sculptor and visual artist Catlett’s defiant, symbolically loaded images of resistance and endurance, and the music reaffirmed that. Singer Charenee Wade got the most choice spots, capping off the crescendos with remarkably nuanced vocalese, her vibrato trailing off elegantly as her phrases wound out, sometimes in harmony with french hornists John Clark and Vincent Chancey, at other times over a lush bed of high reed textures. Drummer Chris Beck got to trigger a deviously amusing false ending or two while the bandleader, amped well up in the mix, pushed the ensemble with an understatedly funky pulse when he wasn’t swinging it hard or circling around with tersely minimalist, avant garde-tinged phrasing. Notwithstanding the album’s epic, classically tinged sweep and sophistication, this show reminded just how deeply Reid’s writing is rooted in the jazz tradition. Taking the time to assemble a big band is a herculean effort to begin with; that this group could play this music as tightly and passionately as they did is tribute to how inspiring Reid is as a composer and bandleader. Although last night’s shows appeared to be sold out, there are seats left for the rest of this weekend; reservations to 212-576-2232 are always a good idea here.

February 27, 2015 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment