Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Most Shattering Piece of Music Released This Year

The most riveting and relevant piece of music released so far this year is basically a single note.

Scott Robinson plays 8 min. 46 sec. solo on bass saxophone, sustaining that note for the almost nine minutes that George Floyd managed to survive until Derek Chauvin finally succeeded in asphyxiating him. It will rip your face off. Robinson uses circular breathing to maintain the pitch, and as the piece goes on, even a veteran multi-reed player has to hold on for dear life.

That’s the point here: as quietly tortuous as Robinson’s own performance becomes, imagine what Floyd went through. As Robinson reminds in his notes on the youtube clip, he was shaking by the time he’d finished: Floyd didn’t get to make it that far.

June 16, 2020 Posted by | jazz, Music, music, concert | , , , , , , , | Leave a comment

Low-Register Reed Maven Scott Robinson Hits a High Note or Two

Scott Robinson is one of this era’s great masters of the low reeds – specifically, the low, low reeds, the contrabass clarinet and such. But he’s even more than that: it wouldn’t be extreme to call him a master of wind instruments in general. For example, he’s also a competent trumpeter. With that in mind, it’s less of a surrprise that his favorite horn is a vintage 1924 tenor sax he rescued from a Maryland junk shop more than forty years ago. He’s playing that horn at a two-night birthday celebration at Birdland this June 21 and 22 at 7 PM. You can get in for $30; if that seems steep, consider that this is a pretty rare opportunity to get to see him play a whole set (one presumes – you never know) on tenor..

He’s also got a new album out, Tenormore – streaming at youtube – celebrating the sound of that instrument. For a guy whose own compositions are so often imbued with a quirky sense of humor, and are sometimes way out there, this is a very straight-ahead record, in an early 60s Prestige (or late tteens Posi-Tone) vein.

He opens it solo with a wry ascent to the very top of his register, in a spaciously exuberant take of the Beatles’ And I Love Her. Likewise, Tenor Eleven is a sprightly swing shuffle, Robinson’s carefree clusters over the spring-loaded pulse of pianist Helen Sung, bassist Martin Wind and drummer Dennis Mackrel. Fans of Robinson’s irrepressibly weird sci-fi themes may hear this and ask themselves, is it really him?

The group’s slow, expansive remake of Put on a Happy Face is a platform for Robinson’s balmy side, along with some very subtle extended technique and a wee-hours solo from Sung. The band pick up the pace with the briskly strolling Morning Star, Sung engaging in some glittering, emphatic, stride-inflected work, Wind bubbling and Robinson closing with striking, modal bittersweetness.

The tasty, lush noir atmospherics the band use to open The Good Life hardly offer a hint of the genial sway the tune will eventually take on, They return to steady postbop swing with Tenor Twelve, punctuated by Robinson’s punchy riffage, then the sumnery, jubilant, gospel-infused Rainy River with Sung switching to organ. They revisit that mood a little later with their chugging version of The Nearness of You.

Robinson’s wife Sharon guests on flute on The Weaver, a tasty, edgy clave tune  and a launching pad for the bandleader’s canny explorations throughout the entire register of his horn. They close the album with the title track, its coy, clever rhythmic and thematic shifts more reminiscent of Robinson’s further outside work than any of the album’s other cuts.

June 13, 2019 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment