Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Vince Giordano and the Nighthawks Get the Party Started at This Year’s Lincoln Center Midsummer Night Swing Festival

Smoky grey clouds trailed across the river from New Jersey amid spots of sun, a blanket of crushing humidity over Damrosch Park out back of Lincoln Center last night. Hardly optimum conditions for the opening of this year’s Midsummer Night Swing festival – but people came anyway. Who goes to these things? Millennials. And old people – Gen X and most of Gen Y seemed to be missing. Which in a way is strange, because it was Gen X who suppported the first wave of the oldtimey swing revival in New York back in the 90s.

Appropriately, New York’s kings of retro swing, Vince Giordano and the Nighthawks, were chosen to play opening night. The multi-instrumentalist bandleader recalled how his orchestra had played the festival thirty years ago, at a time when their main haunt was a lively (and long since vanished) cajun boite in Chelsea. In the years since, Giordano has become Hollywood’s go-to guy for all swing-related things: the Boardwalk Empire soundtrack is just one of many recent achievements.

The band didn’t seem the least phased by the heat. For Giordano,“We’re going to slow things down now” means midtempo; this was a dance party after all. On the other hand, the group’s vividness and attention to detail is astronishing, especially when you consider that a lot of the material in their first set was standards they’ve played over and over again. Maybe the change of venue, from the cozier confines of the Iguana, where they’ve held down a Monday-Tuesday residency for several years now, was a factor.

And Giordano is as much if not more committed to lost treasures as he is to standards. The set was a mix of both. With its tricky syncopation and klezmer echoes, Puttin’ On the Ritz was a big hit with the crowd. Moving from Detroit, to Kansas City, to Harlem and the south, the group painted a vast and eclectic panorama of the music that rose from the shadiest parts of town to become America’s default party soundtrack for decades.

They opened with Fletcher Henderson’s boisterous 1920s hit Stampede – which actually didn’t hit quite that velocity – and closed with the caffeinated dixieland of Rhythm Is Our Business, from about five years later. In between, they went into the Ellington catalog for a brisk early 30s obscurity as well as The Mooche, which Giordano called “highly seductive.” With its luscious, hazily lustrous chromatics, it was the high point of the set.

Throughout the orchestra, solos were incisive and tantalizingly brief – which they have to be if a band is limited to a single side of a 78 RPM record. Trumpeter Jon Kellso kicked off a relatively austere yet triumphant take of King Oliver’s West End Blues with a restraint that foreshadowed the song’s unexpected suspenseful quality: this was a night full of unexpected dynamics. On the more buoyant tip, Maurice Chavalier’s Isn’t It Romantic gave the group a chance to go full-steam symphonic. A simmering version of Moonlight Serenade later on also reached toward those mighty proportions.

Giordano’s residency at the Iguana continues next week; Midsummer Night Swing returns on June 29 at 7:30 PM with the fiery horn and electric tres textures of salsa group Los Hacheros. It’s free to get into the park, $18 in advance for the dancefloor.

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June 26, 2019 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Quatre Vingt Neuf Reinvent Little Rascals Soundtracks, Hot 20s Jazz and Dixieland at Barbes

When Quatre Vingt Neuf launched into their most recent show last month at Barbes, it was a jazz power play. Bryan Beninghove came up with that term: it means more people onstage than there are in the audience. But by the time the irrepressible quasi oldtimey swing band wrapped up their show around midnight, the room was packed. Quatre Vingt Neuf are last-minute like that.

They played their first gig last year when the venue had a cancellation. Owner Olivier Conan emailed Wade Ripka, who would end up playing tenor banjo in the group, to see if he could pull a pickup band together. Sure, said Ripka, who’s in a bunch of other bands (rembetiko metalheads Greek Judas and retro Russian psych-pop crew the Eastern Blokhedz to name a couple) and has a deep address book. Since Conan lives in France now, all this was done over email.

And unlike most venues, Barbes actually promotes the artists who play there. So when Conan hadn’t heard back from Ripka by around midnight, European time, he sent a final reminder to make sure that the bar would have some kind of live entertainment that night.

Apparently the show was a success. When Ripka asked for another gig for this ensemble, Conan agreed – but insisted on naming the band. He came up with Quatre Vingt Neuf (French for Eighty-nine – a revolutionary year). Since then, they’ve featured as many as seventeen players onstage. Last month’s show featured a relatively small septet.

Quatre Vingt Neuf’s shtick is that they play hot 20s jazz and dixieland with a rock rhythm section, a rarity since when those styles first originated, recording technology hadn’t been developed to the point where bass or drums could be recorded in a full-band situation. Realistically speaking, Quatre Vingt Neuf hardly qualify as a rock band. At the May gig, drummer Chris Stromquist (who also plays in Greek Judas and Balkan brass band Slavic Soul Party) broke out his bundles and brushes and swung with an unexpectedly subtle flair – it’s a side of him not that many people get to see. The same with bassist Nick Cudahy – who also plays in Greek Judas and the Blokhedz – walking the changes and using horn voicings in a couple of wry solos.

Interestingly, bandleader Ripka stuck to rhythm and didn’t take any solos. But the band played several of his arrangements of Little Rascals theme music, from scampering Keystone Kops miniatures to longer, more coyly crescendoing, cinematic pieces. Even the ballads were upbeat. Soprano saxophonist Jason Candler sang a handful of them, when he wasn’t sending wildfire spirals upward. Trumpeter John Carlson played terse, centered good cop to trombonist Tim Vaughn’s boisterous honks and snorts and extended technique. They’re back at Barbes on June 13 at 10 PM, headlining a great swing twinbill that begins at 8 with plush singer/baritone uke player Daria Grace & the Pre-War Ponies, who excel at oldschool mambos and can also be a lot more boisterous than most retro swing bands.

June 3, 2019 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Revelry with Glenn Crytzer’s Savoy 7 at Symphony Space

This past evening. even though Symphony Space seemed to be sold out, it was a little strange not to to see the usual Thursday night crowd of dancers who pack the floor in front of the stage.

That’s right: dancing at Symphony Space. It’s a thing.

Serenaded by the period-prefect early 40s-style originals of guitarist Glenn Crytzer’s Savoy 7, a lone young woman in a red dress twirled, schooling everybody in the house: she really knew her  moves. A middle-aged guy, who obviously didn’t, joined her, but he was game, and he hung in there and got a personal swing dance lesson for nothing. A few other couples went out onto the floor, but it was clear that nobody was going to be able to keep up with the vermilion vixen.

And the music was just as good. Beyond being a rare jazz guitarist who doesn’t waste notes, Crytzer is very funny. Throughout over an hour and a half onstage, the band romped through one trick ending after another, along with innumerable, coy, vaudevillian exchanges that only once in awhile went completely over the top.

Crytzer explained that the model for this band was Benny Goodman’s 1940-41 Septet with Charlie Christian on guitar. True to form, Crytzer was especially chill throughout the show, limiting his solos to maybe a couple of bars at the most. Likewise, the horns followed a dixieland-inspired pattern, with brisk handoffs where everybody was practically stepping on the next guy, like the dialogue in an early MGM talkie. Echoes of Cab Calloway, John Kirby and Louis Jordan also bounced through the songs from time to time.

Guest singer Barbara Rosene brought an understated brassiness to the vocal numbers, which were the night’s funniest songs. The best of these was a midtempo tune with a chorus of “A woman needs a man like a fish needs a bicycle.” With its droll stoner call-and-response, When I Get Low I Get High – sung by Crytzer – was pretty self-explanatory. There was also a number about a melody that bedeviled him so much that he ended turning it into a meta-song, pondering that if he could have come up with a lyric as catchy as the hook, he’d be more famous than Rodgers and Hart.

Who Needs Spring, Crytzer explained, was a tune with a very short shelf life; he breaks it out right about now, then retires it until winter comes around again. The instrumentals had plenty of humor as well, from the wry, folksy travelogue Not Far to Fargo, to a sleepy Florida-Georgia highway tune, Road to Tallahassee. Crytzer explained that he wasn’t thrilled with the title of the jaunty Live to Swing until the German superfan who came up with the idea threw big bucks into the crowdsourcing campaign for the guitarist’s most recent, lavish big band double album…money changes everything, doesn’t it?

The best song of the night was I Get Ideas, an uncharacteristically brooding mashup of hi-de-ho swing and distant hints of the music’s klezmer roots, featuring the most biting solos of the night, around the horn from Rich Alexander’s tenor sax to Mike Davis’ muted trumpet, Matt Koza’s clarinet and finally the bandleader himself. The rest of the band – Bob Reich on piano, Ian Hutchison on bass and Andrew Millar on drums – chose their spots for clever cameos throughout the set

Next week’s installment of Symphony Space’s Thursday night Revelry series, as they call it, is on Feb 28 at 7:30 PM with a special intimate duo set from the core of edgy Israeli dance band Yemen Blues; you can get in for $20 if you’re thirty and under, and there are drink specials from the bar all night. Crytzer plays with his quartet at 7 PM on Feb 24 at Peppi’s Cellar at 406 Broome St. in SoHo.

February 21, 2019 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Catherine Russell Brings Her Edgy Retro Swing and Blues Reinventions to Birdland

Catherine Russell has made a career out of bringing edge and freshness to old swing jazz tunes both popular and obscure. Much as she’s often mined the so-called “great American songbook” for much of it, she and her band steer clear of cliches. Other than the present, the time period they most closely evoke is the early 30s, before swing got watered down for segregated white audiences. And where so many other jazz singers mimic icons from decades past, Russell long ago developed a resolute, purposefully individualistic style, with a deep if not always immediately present blues influence – something you might expect from someone whose pianist father Luis was Louis Armstrong’s musical director. Her new album Alone Together – which hasn’t hit her Spotify channel yet – is just out. She and her similarly purist group are celebrating the release with a stand at Birdland this Feb 12-16, with sets at 9 and 11 PM. You can get in for thirty bucks.

They open the new record with the title track: ultimately, it’s an optimistic ballad, but both Russell and the band anchor it with a steady, gritty swing, pianist Mark Shane and trumpeter Jon-Erik Kellso ramping up an underlying, steely bluesiness. Likewise, Russell and Shane max out the irony in You Turned the Tables on Me, over bassist Tal Ronen and drummer Mark McLean’s steady stroll.

When Did You Leave Heaven has a plush string section, a subtle 12/8 rhythm and a spare, spacious soul solo from musical director/guitarist Matt Munisteri. They reinvent Early in the Morning as a barrelhouse piano cha-cha, punctuated with Mark Lopeman’s tenor sax and Munisteri’s wry Chicago blues solo. Then they turn Is You Is or Is You Ain’t My Baby into a wary New Orleans stroll with a terse, edgy horn chart, probably the last thing Louis Jordan ever imagined for this song – at least until Kellso cuts loose with his mute.

Russell matches sass to knowing sarcasm while the band romp through You Can’t Pull the Wool Over My Eyes, Lopeman and Kellso trading off with trombonist John Allred with some lively dixieland. Her angst is more distant in Shake Down the Stars, Shane’s emphatic solo giving way to Kellso’s airier, more wistful lines. Then the group take their time with a gorgeously bittersweet, take of the blues ballad I Wonder, lowlit by Munisteri’s tremoloing guitar and resonant washes of brass.

The real gem here is the innuendo-packed hokum blues He May Be Your Dog But He’s Wearing My Collar, a 1923 hit for singer Rosa Henderson, who would no doubt approve of Russell’s defiance over Shane’s stride piano and Munisteri’s shivery slide work. The band romp through the sudden tempo shifts of Errand Girl for Rhythm and then flip the script with a steady, darkly ambered take of How Deep Is the Ocean. Likewise, they keep a purposeful slink going through their take of I Only Have Eyes for You.

They wind up the album with a tasty version of You’re Not the Only Oyster in the Stew, with a nod over the shoulder at those great 1920s Bessie Smith/James P. Johnson collaborations. Russell has made a bunch of good records over the years but this might be the best of them all.

February 8, 2019 Posted by | blues music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Avalon Jazz Band Fuel the Revelry at Symphony Space

On one hand, it was mystifying to see a sold-out crowd sitting sedately through the first three songs of the Avalon Jazz Band’s sold-out show at Symphony Space Thursday night. On the other, it was validating to see the group earning appreciation as a first-class jazz act. Too few swing bands get props for their chops.

This show was the second in a weekly series here called Revelry. Musically speaking, it’s the most exciting thing to happen to the Upper West Side in a long, long time. There were never many venues in the neighborhood to begin with and there are even fewer now. So Symphony Space is really filling a need by booking all sorts of artists who’ve probably never played this far north.

This Thursday, Oct 25 at 8 PM the venue has Jerron “Blind Boy” Paxton, a polymath on oldtime blues guitar, banjo and piano who may be the single most talented musician in all of New York. Ticket buyers 30 and under get in for $20, which is ten bucks off the regular cover charge. The downstairs bar stays open during the show and afterward; last week, ushers were grinningly handing out wristbands which entitled concertgoers to 20% off at the bar. All this is a different kind of return to the venue’s glory days in the late zeros and earlier in this decade when they were booking a ton of global talent in addition to the usual classical and jazz acts.

Last week, it was a four-piece version of Avalon Jazz Band. They opened with a charming, chirpy, playfully conversational take of the old French standard Coquette, frontwoman Tatiana Eva-Marie shimmying and teasing cartoonish riffs – and an irresistibly droll bass solo – from her bandmates. By the night’s third number, people of all ages were beginning to leave their seats and heading down in front of the stage to cut a rug. The snazziest dance moves of the night came from a couple who looked to be in their seventies, clearly old pros at swing dancing.

After starting in Paris, the singer led her quartet to Romany territory – Tatiana is half French and half Romanian – then to New Orleans and finally brought the music full circle. Guitarist Vinny Raniolo aired out his vast bag of riffs, from punchy Django Reinhardt swing, to warily resonant Chicago blues, fleet postbop and some eerie, tremoloing Lynchian resonance capped off with tremolo-picking that was sometimes fluttery and sometimes an icepick attack.

Violinist Gabe Terracciano showed off similar chops, from jaunty Bob Wills-style western swing, to airy Stephane Grappelli-esque phrasing, lots of sabretoothed Romany riffs and stark blues as well. Bassist Wallace Stelzer was amped pleasantly high in the mix, serving as the band’s Secretary of Entertainment with his wry sense of humor, the occasional tongue-in-cheek quote and solos that echoed the guitar.

The songs in the set were just as diverse. They’d played this year’s New Orleans Jazz Festival, so that was still on their minds. The highlight of the set was a brooding, saturnine take of Hoagy Carmichael’s New Orleans, with new English lyrics by a Crescent City friend of Tatiana’s. Her original, There’s Always a Moon Over New Orleans made a brisk contrast, inspired by the fact that when the band were down there, they never got up until after the sun went down. They mined the repertoire of Charles Trenet and Charles Aznavour for wistfulness, then went scampering up Menilmontant toward the end of the set. Afterward the crowd filed out to the bar, just as Tatiana – who by the end of the set had drained most of a sizeable glass of whiskey – had been encouraging all night. 

October 22, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Svetlana & the Delancey Five: New York’s Most Deliciously Unpredictably Vocal Jazz Band

There were some delicious ironies at Svetlana & the Delancey Five’s Birdland show last week. With most vocal jazz acts these days, the situation is frontperson – more often than not a woman – plus backing unit. Although they got their start as a swing dance band, this crew share much more interplay and push-and-pull than most bands in the field. Which makes them vastly more unpredictable: you literally never know what they’re going to throw at you.

Their most recent Blue Note show was all about jaunty improvisation, a game of street ball with everybody throwing elbows and getting dirty. So this Birdland gig was something of an anomaly – because it was the song set. Watching this band, it’s never completely clear how much of what they’re doing is actually composed, and how much improvisation is going on. Frontwoman Svetlana Shmulyian is a connoisseur of clever charts – Wycliffe Gordon is a favorite source – and obviously revels in keeping the audience guessing.

Which might explain why, in between songs, she was in rare form as snarky comedienne: sticking more closely to the page might not have been everything she needed to really blow off steam. There were many levels of meta: she never came right out and said, “You people are just a bunch of tourists from the sticks,” but for the hometown contingent, she was redemptive.

To paraphrase Mae West, this time out the quintet were a band what takes its time, parsing the arrangements’ innumerable twists and turns. They made bossa nova out of the Ella Fitzgerald version of A Tisket, a Tasket, with a fleeting, surreallistically triumphant klezmer interlude when least expected. By contrast, their take of I’m Just a Lucky So and So had a slow, lustrous sway lowlit by the harmonies of trumpeter Charlie Caranicas and tenor saxophonist Christopher McBride, pianist Willerm Delisfort ramping up the starry ambience. It was the ”Midnight in a tropical forest,“ that Shmulyian had promised to deliver.

Dynamics and subtle tempo shifts were front and center throughout Cheek to Cheek and then What a Little Moonlight Can Do, ramping down In the Wee Small Hours over the tersely tuneful pulse of bassist Endea Owens in tandem with similarly purposeful drummer Rob Garcia and his counterintuitive snare work. Then the group took it up again with a soaring, practically vengeful take of a Shmulyian original, You Turned the Tables on Me.

Much of this material is slated for release on the group’s forthcoming 2019 album A Night at the Movies, including a mamboish reinvention of an 80s ballad dating “From when hair like mine was popular,” as Shmulyian put it (she’s got one of the most seriously leonine manes in jazz).

The upbeat, bouncy Baby I’m Back, a triumphant return-from-the-tour tableau, contrasted with Garcia’s glimmering, harrowing, New Orleans funeral remake of the Beatles’ Because. They took it out with what has become Shmulyian’s signature closer lately, Blue Skies, just Delisfort and the bandleader slowly pushing the clouds away before the whole band brought the big light up. Shmulyian’s next show is this Jan 12 at 8 PM with the NY Swing Collective at the Cell Theatre in Chelsea; cover is $15.

October 3, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment

Svetlana & the Delancey Five Reinvent Classic Swing at the Blue Note

The difference between Svetlana & the Delancey Five and virtually every other female-fronted vocal jazz act out there is that they’re not just a singer and a backing band. There’s more interplay and musical conversation in this group than there is in practically any other similar lineup. Case in point: the take of Lady Be Good at their Blue Note show on Saturday. “Here’s one from when we used to be a dance band,” frontwoman Svetlana Shmulyian told the crowd as the ensemble launched into a lickety-split version peppered with counterpoint and call-and-response between both singer and instrumentalists, along with a striking handful of sudden syncopated shifts.

Of the original band’s original lineup, only the bandleader, and trumpeter Charlie Caranicas remain  – if you buy the argument that there was an original one. Like another New York institution, the Vanguard Jazz Orchestra, this band have always had a semi-rotating cast: Shmulyian’s address book is as deep as her collection of edgy original charts.

Throughout the rest of the set, the animated jousting between bandmates was nonstop. Tenor saxophonist Christopher McBride exchanged clusters and bursts with Caranicas, whose effortlessly rapidfire descent through a biting series of chromatics during an epically shapeshifting Nothing But Blue Skies was one of the show’s high points.

Bassist Endea Owens – most recently witnessed propelling the mighty all-female Sisterhood of Swing big band at Lincoln Center – voiced terse piano lines and horn lines, and then went into some lowdown funk in a radical remake of Remember Me, from the animated film Coco. Pianist Willerm Delisfort, who’d switched to a resonant, organlike Fender Rhodes setting for that one, tossed off an especially smoochy boudoir soul riff that drew an eye-rolling “I can’t believe you just did that” from the bassist. From the side seats, it wasn’t possible to see Delisfort’s reaction, but it was probably, “There’s more where that came from.”

Drummer Henry Conerway III turned his predecessor Rob Garcia’s arrangement of the Beatles’ Because into a New Orleans funeral theme – in 6/8 time, most of the way through. Likewise, he and the bandleader pounced through more than one jaunty drum-and-vocal duet.

Shmulyian – whose interpretations depend on whatever exchanges are going on with the group – was characteristically dynamic on the mic. Her signature delivery is as clear as a bell, but this time she added an unexpectedly welcome grit to A Tisket, a Tasket, her opening number. It may have been a throwaway for Ella Fitzgerald, but Shmulyian took a carefree playground rhyme and made a fierce double-dutch anthem out of it. Contrastingly, she turned the ballad Sooner or Later – from the Madonna film Dick Tracy – into swoony wee-hours saloon blues.

For upstate fans, they’re at the Falcon,1348 Rt. 9 W in Marlboro, NY on July 29 at 8 PM. They also have a new album, Night at the Movies, in the can, whose reinvented songs from films across the ages are reputedly as eclectic as the setlist as this gig.

July 4, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, NYC Live Music Calendar, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment

A Fourth of July Show Worth Celebrating at Barbes

This was not a year to celebrate the Fourth of July with any kind of American pageantry. There were a few people in the crowd at Barbes who’d deliberately decided to opt out of visual fireworks for musical ones, but otherwise there was no political subtext to a wildly energetic triplebill of New Orleans swing and Balkan brass sounds that ran the gamut from the most trad to the craziest avant garde.

Saxophonist Aurora Nealand’s Royal Roses had played Central Park over the weekend with a couple of popular New York acts: from this performance, putting them first on that bill must have raised the bar impossibly high. Much as the hurricane and the forced exodus  out afterward did a number on the Crescent City’s indigenous jazz population – developers have been scheming to depopulate New Orleans’ working-class neighborhoods for years – it’s still a hotbed for jazz, if a lot less creole than it used to be. The Royal Roses represented that tradition and schooled us all, through two deliriously swinging sets.

Barbes tends to draw a lot of bands who are used to much bigger venues, and this group was no exception: it was impossible to get into the music room until very late in the second set. A lot of what they played could be called dixieland noir. There was volley after volley of soprano sax/trombone interplay and counterpoint, but it was dark and edgy, and tight beyond belief. Piano and guitar made spiky appearances out in front on a handful of numbers, and it wasn’t all just lickety-split dance music, either. As the band built steam in the second set, there were also a handful of clenched-teeth massed climbs up the scale, part Anthony Braxton largescale improvisation and part horror film soundtrack. This contrasted with Nealand’s close-to-the-vest charm on the mic: as much as she’s a pyrotechnic reed player, she sings with a lot of nuance.

Slavic Soul Party, who’ve mashed up Balkan brass music with everything from hip-hop to Ellington jazz suites over the years, weren’t available for their usual Tuesday night 9 PM residency, but there were members in the house. And it was awfully cool to be able to catch a rare appearance by Veveritse Brass Band. “I saw them on some random night at the Jalopy, years ago, and they blew me away,” enthused a brunette beauty at the bar.

She wasn’t kidding. An eight-piece version of the band shook off the rust and a rocky start to bring back fond memories of a Serbia of the mind circa 2009 or thereabouts, when the band was a regular draw on the Barbes/Jalopy circuit. Tricky tempos? Minor keys? Chromatics and microtones to rival seasoned Serbian or Egyptian brass players? Check, check, check. Alto saxophonist Jessica Lurie whirled in, unpacked her horn and fired off the most deliciously slithery solo of the night, not missing a beat. Finally, de facto bandleader and baritone horn player Quince Marcum took a similarly valve-twisting microtonal solo of his own.

The night came full circle with an enveloping, otherworldly and eventually feral set by the Mountain Lions, billed originally as the duo of baritone saxophonist Peter Hess and standup drummer Matt Moran. Maybe this was planned, maybe not, but it ended up with Hess playing achingly intense, minutely fluctuating melody over a slow, funereal beat, several horns massed behind him and playing a drone. The result was as psychedelic as anything played on any stage in New York this year – and a pretty spectacular display of circular breathing and extended technique. Then the group loosened up, Raya Brass Band’s Greg Squared lit into one of his supersonically precise, pyrotechnic solos and the band got their feet planted back in Sarajevo or Guca or somewhere like that, in the here and now.

Word on the street is that Slavic Soul Party will have everybody back in town by August for their Tuesday night Barbes residency. In the meantime, this month, their absence opens up the late slot for a lot of great music- check the Barbes calendar or just stop by the bar if you’re in the hood. This coming Tuesday, July 11 at 7 PM lit-rock collective the Bushwick Book Club open the night at 7, playing songs inspired by Steve Martin.

July 7, 2017 Posted by | avant garde music, concert, gypsy music, jazz, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The World’s Funniest Jazz Band Return to Their Favorite Brooklyn Spot

What makes Mostly Other People Do the Killing so damn funny? They do their homework, they really know their source material and they can spot a cliche a mile away. Over the course of their dozen-album career, the world’s most consistently amusing jazz band have pilloried styles from hot 20s swing to post-Ornette obsessiveness. They also did a pretty much note-for-note recreation of Kind of Blue (that was their “serious” album). Their latest release, Loafer’s Hollow – streaming at Spotify – lampoons 1930s swing, Count Basie in particular. There’s an additional layer of satire here: ostensibly each track salutes a novelist, among them Vonnegut, Pynchon, Joyce, Cormac McCarthy and David Foster Wallace. The band return to their favorite Brooklyn haunt, Shapeshifter Lab on June 29 at around 8:15, with an opening duo set at 7 from their pianist Ron Stabinsky with adventurous baritone saxophonist Charles Evans. Cover is $10.

The band keeps growing. This time out the three remaining original members – bassist Moppa Elliott, multi-saxophonist Jon Irabagon and drummer Kevin Shea – join forces with Stabinsky, banjo player Brandon Seabrook, trombonist Dave Taylor and Sexmob trumpeter/bandeader Steven Bernstein, an obvious choice for these merry pranksters.

This is  a cautionary tale, one negative example after another. Respect for bandmates’ space? Appropriateness of intros, lead-ins, choice of places to solo or finish one? Huh?  For anyone who’s ever wanted to take their instrument and smash it over the head of an egocentric bandmate, this is joyous revenge. It also happens to be a long launching pad for every band member’s extended technique: theses guys get sounds that nobody’s supposed to.

It’s not easy to explain these songs without giving away the jokes. Let’s say the satire is somewhat muted on the first track, at least when it comes to what Seabrook is up to, Bernstein on the other hand being his usual self.

Honey Hole – a droll ballad, duh – is where the horns bust out their mutes, along with the first of the chaotic breakdowns the band are known for. Can anybody in this crew croon a little? We could really use a “Oh, dawwwwling” right about here.

A strutting midtempo number, Bloomsburg (For James Joyce) takes the mute buffoonery to Spike Jones levels. Kilgore (For Kurt Vonnegut) its where the band drops all pretense of keeping a straight face, from the cartoonish noir of the intro (Seabrook’s the instigator) to the bridge (not clear who’s who – it’s too much), to Stabinsky’s player piano gone berserk.

Stabinsky’s enigmatic, Messiaenic solo intro for Mason & Dixon (For Thomas Pynchon) is no less gorgeous for being completely un-idiomatic; later on, the band goes into another completely different idiom that’s just plain brutally funny. Likewise, Seabrook’s mosquito picking and Taylor’s long, lyrical solo in Meridian (For Cormac McCarthy) are attractive despite themselves. Maybe that’s the point – Blood Meridian’s a grim story.

The band returns to a more subtle satire – such that it exists here – with Glen Riddle (For David Foster Wallace), in many respects a doppelganger with the album’s opening track. They wind it up with Five (Corners, Points, Forks), which gives the gasface to Louis Armstrong – and reminds how many other genres other than jazz this band loves to spoof. As usual, there are tons of quotes from tunes both iconic and obscure:  this is the rare album of funny songs that stands up to repeated listening.

Not to be a bad influence, but these catchy, jaunty tunes reaffirm that if the band  really wanted, they could just edit out the jokes and then they’d be able to get a gig at any respectable swing dance hall in the world  Another fun fact: this album was originally titled Library (all MOPDtK albums are named after towns in Elliott’s native Pennsylvania). In researching the area, Elliott discovered that before it was Library, it was Loafer’s Hollow. The more things change, right?

June 27, 2017 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Svetlana & the Delancey Five: New York’s Most Unpredictably Fun Swing Band

Since swing jazz is dance music, most swing bands have limitations on how far out on limb they can go. After all, you’ve got to keep everybody on their feet, right? Svetlana & the Delancey Five are the rare swing band who don’t recognize any limits: they’re just as fun to siit and listen to as they are for the dancers.

There weren’t a lot of people on their feet at the band’s sold-out show earlier this month at the Blue Note, but the band charmed the crowd for the duration of the set…with new arrangements of material that’s been done to death by a whole lot of other folks. The premise of this gig was to revisit and reinvent the great Louis Armstrong/Ella Fitzgerald collaborations, a favorite Svetlana theme.

Frontwoman Svetlana Shmulyian and guest Charles Turner took those roles to plenty of new places, neither singer trying to ape any of the original Ella/Satchmo takes. A lot of singers try to replicate horn lines; Shmulyian doesn’t do that, nor does she scat a lot, but she never sings anything remotely the same way twice and this show was no exception. She’s protean to the point that it takes awhile to get to figure her out, to the extent that she can be figured out. That’s part of the fun. There was a show last year where she didn’t break out the vibrato until the last song of the night; this time, she was using every device in her arsenal from the first few notes of Just A-Sitting and A-Rocking.Then later she bubbled and chirped her way through the rapidfire travelogue of her own bittersweetly charming romp, Baby I’m Back.

Turner has a wide-angle vibrato, like a classic old Packard or Mercedes with a loose clutch. How he modulates it sounds easy but is actually the opposite: it takes masterful control and nuance to stay in the game. He played it on the sly side against the bandleaders’ coy ingenue in Cheek to Cheek, then the two playfully flipped the script for a cheerily sardonic take of I Won’t Dance.

The freshness of drummer Rob Garcia’s charts is another drawing card. Much of the time, it seems like the band is jamming away, but they’re actually not: That high-voltage interplay makes even more sense in the context that this is the rare band that’s stayed together more or less for the better part of five years: Garcia knows everybody’s steez and vice versa. Case in point: the band’s take of A Tisket, a Tasket, Ella’s version of a jump-rope rhyme that’s pretty much a throwaway. But this band’s version started out as a cha-cha and took a sudden departure toward a shadowy, almost klezmer groove midway through. His Afrobeat allusions in What a Little Moonlight Can Do were just as unexpectedly kinetic and spot-on.

The high point of the set, at least in terms of getting a roar out of the crowd, was a long duel between Garcia and tap dancer Dewitt Fleming Jr.  Rather than taking the easy road, going all cheesy and cliched, Garcia engaged Fleming as a musician…and Fleming pushed back, hard! Was Garcia going to keep up with Fleming’s relentless hailstorm of beats? As it turned out, yes, with every texture and flourish and part of his hardware, but it wasn’t easy. Bassist Endea Owens jumpstarted a more low-key, elegant duel earlier on, which was just about as fun if a lot quieter and slinkier.

Multi-reedman Michael Hashin (also a member of the Microscopic Septet, whose latest blues album is a purist treat) opened jauntily on soprano in an instrumental take of Cottontail (in keeping with the theme of the show) and then switched to tenor for more smoke and congeniality for most of the rest of the set. Trumpeter Charles Caranicas also switched back and forth with his flugelhorn in the set’s more pensive, resonant numbers, while pianist John Chin drove the more upbeat material with an erudite yet almost feral, purist, blue-infused attack.

If your taste in swing runs toward good listening as well as cutting a rug, Svetlana & the Delancey Five are playing a special Make Music NY set outside Joe’s Pub on June 21 at 3 (three) PM. And unlike most Make Music NY slots, where bands snag permits for outdoor performances and then don’t show up til the eleventh hour, if at all, this show is definitely happening as scheduled. Then they’re at the carousel at the south end of Battery Park on June 23 at 7.

June 19, 2017 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment