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

Erik Charlston’s JazzBrasil Pays Joyously Complex Homage to a Great Composer

Bright and carnavalesque but also hypnotic and constantly shapeshifting, vibraphonist Erik Charlston’s new album Essentially Hermeto more than does justice to legendary Brazilian composer Hermeto Pascoal. Pascoal’s work is incredibly lively and kinetic, but it’s also deep, and Charlston absolutely gets that. But it’s more than just a tribute: this is a mostly brisk, fascinating ride through a whole bunch of diverse Brazilian styles. The band here behind Charlston is choice: multi-reedman Ted Nash; Mark Soskin on piano; Jay Anderson on bass; Rogerio Boccato on drums and Cafe (Edson da Silva) on percussion. They’re at Dizzy’s Club at Jazz at Lincoln Center on Monday night, Nov 7 at 7:30 and 9:30 PM, and if Brazilian sounds are your thing, you should go see them.

The album kicks off kinetically with Vale de Ribiera. Inspired by a rainforest sunrise, it’s an apt musical portrayal of what the world stands to lose if the tropics get deforested. Boccato cleverly disguises a disco beat and the vibes scurry while the reeds play hide and seek. The second track is a jazzed-up choro tune, Charlston masterfully working every single tonality available, especially the low, moody ones, taking it up at the end with a surreal edge. It’s a fitting theme for the land of magic realism.

The summery San Antonio is meant to evoke a family at a Saint Anthony festival, but it seems much more than that: there’s an obvious elegaic aspect, and Charlston plays that up to the fullest, walking a wire between suspense and balminess, Nash’s alto sax contrasting intensely with a waltz theme that disappears quickly in favor of Soskin bringing it into vivid focus – and then it ends ethereally.

Cafe opens the following tune with more suspense, a scrapy berimbau solo that introduces a stately but cheery midtempo maracatu slink. Between joyous “beep beep”crescendos, Charlston defiantly avoids resolution with a pensive solo that Anderson follows tersely and intensely. Charlston wavers between pointillism and echoey mysterioso ambience on the next track, a fascinating diptych, Nash adding a wary bossa edge over the lush tropicality of the melody, Soskin and then Charlston taking it to an understatedly insistent, intense crescendo out. The album winds with a vocal tune that’s sort of a dixieland/soca hybrid and another partita, a richly dark frevo composition that the ensemble shifts effortlessly between lively swing, apprehensively clustering crescendos and finally an irresistibly wry series of birdcalls that the band becomes finds just as hard to put away. Like his inspiration, Charlston has a clear passion for Brazilian themes, and the band rises to to the occasion: count this among the best jazz albums to come over the transom here this year.

November 4, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment