Mike Neer’s Brilliant, Imaginative New Album Reinvents Jazz Classics for Lapsteel
Lapsteel player Mike Neer‘s previous album was a reinvention of Thelonious Monk classics. His latest album Keepin’ It Real – streaming at Bandcamp – is an absolutely brilliant, occasionally unsettling mix of material imaginatively arranged for what Neer calls a “faux Hawaiian trio” of steel, bass and ukulele, all of which he plays himself. Recorded during the lockdown, it also features cameos from an allstar cast.
It wouldn’t be overhype to compare the opening number, Duke Ellington’s African Flower, to Big Lazy. Neer’s steady ukulele in the beginning is a red herring: his ominously chromatic steel lead follows a swinging quasi-bolero beat. It brings to mind a certain Brooklyn psychedelic cumbia band’s take on Erik Satie.
Nica’s Dream, a Horace Silver tune, shifts from hints of bossa nova to a jaunty swing, then clouds pass through the sonic picture, guest vibraphonist Tom Beckham adding a steady, latin-tinged solo over Neer’s uke flurries before he hits a deviously Monk-inflected steel solo.
Neer’s take of McCoy Tyner’s Passion Dance – has a jaunty, bubbling, riff-driven cheer and a series of dazzling, rapidfire Beckham solos. Melodica player Matt King adds a layer floating over Neer’s steel in their amiably pulsing bossa take of Pensativa.
An aptly furtive, stalking take of Stolen Moments features Anton Denner taking tensely bluesy flight on alto flute. West Coast Blues comes across as what could have been a Bob Wills demo, Neer contributing both a terse bass solo and a romping, irrepressible bop steel solo.
Will Bernard guests sparely, incisively, and subtly ferociously on guitar in the allusively modal, vamping Witch Hunt. Accordionist Ron Oswanski kicks off Peace with a lush intro, Neer adding warmly, sparely pastoral melody over a slow, trip-hop-like sway
Fun fact: before Neer became New York’s foremost jazz lapsteel player, he did some time as lead instrumentalist with Hawaiian swing stars the Moonlighters, an influence that obviously stuck.
Lavishly Fun Camaraderie with Peter Apfelbaum’s New York Hieroglyphics at the Stone
Sunday night Peter Apfelbaum wrapped up a weeklong stand at the Stone with a sprawling, serpentine, unselfconsciously joyous (and surprisingly tight) performance by his long-running large ensemble the New York Hieroglyphics. It’s a fair guess that crowds outside of New York would pay obscenely to see such a pantheonic lineup, which also comprised trumpeter Steven Bernstein, trombonists Josh Roseman and Natalie Cressman, violinist Charlie Burnham. guitarist Will Bernard, tenor saxophonist Tony Jones, multi-reedman Norbert Stachel, bassist Brad Jones, drummer JT Lewis and singer Abdoulaye Diabate.
They played with the cameraderie of a group that’s existed, if on and off and bicoastally, for forty years, dating from Apfelbaum’s teenage years at UC/Berkeley. They’ve come a long way since the days when they had to rehearse in a local park since they “Couldn’t play if there were adults around,” as Apfelbaum wryly recounted: they were a lot further out back then.
Here the improvisation was more focused on solos and pairs than mass squall. In that context, Bernstein and Roseman played with a resonant restraint, eschewing the ripsnorting attack they could have pursued with this group in past decades. Violinist Charlie Burnham took a long, starkly emphatic wah-wah solo; bass and drums shifted the night’s final number further and further from Malian duskcore slink toward reggae but never actually landed in Kingston as they’d been hinting. Cressman – daughter of the group’s original trombonist, Jeff Cressman – played a clinic in slicing and dicing judicious blues phrases from the top to the bottom of the scale, and later sang a pretty straight-up oldschool 60s-style version of the Prince ballad Sometimes It Snows in April.
Apfelbaum began the set with one of his signature uneasy, acerbic piano figures, later switching to tenor sax as the composition shifted from an emphatically moody, Darcy James Argue-esque theme to something akin to Argue’s big band tackling the kind of Indian tunes that the Grateful Dead were pilfering in the 1960s. A big, bright, brassy false ending was the high point, echoed at the end of the show with a cantabile lustre that left the crowd wondering where the choir was hidden.
Apfelbaum opened that one solo on melodica before handing off its jauntily circling Tuareg rock riffage to Bernard, who turned in a performance worthy of Tinariwen: he really ha a feel for that stuff. In his impassioned tenor Diabate sang the lyric about a genie who hasn’t arrived yet, joined in a celebratory, seemingly impromptu singalong by the rest of the band.
In between, Apfelbaum led the group from tensely syncopated Afro-Cuban piano verses to expansive vistas that finally straightened out closer to Havana than Senegal. Much of this material, he said, is scheduled to be recorded soon: from this performance, it’s definitely ready.
Literate New Soul and Erudite Organ Jazz Cross-Pollination at the Delancey
Fun and interesting show this past Thursday night at the Delancey with tantalizingly brief sets from soul singer/bandleader Amana Melome and paradigm-shifting jazz organist Brian Charette and his Mighty Grinders trio with Will Bernard on guitar and Eric Kalb on drums. Melome has Ellington band royalty in her veins – her bassist grandfather Jimmy Woode was a member of the Ellington orchestra and played with many other golden age jazz names as well. The Stockholm-based chanteuse maintained a low-key vibe, drawing the crowd in with her simmering, jazz-inflected downtempo and soul grooves. Backed by an electric pianist who varied his textures from song to song plus a tersely swinging acoustic rhythm section, Melome aired out a mix of tunes from her latest ep Lock and Key. Like her music, her misty mezzo-soprano vocals build a mood and explore its intricacies and secret corners rather than wailing or pleading. Her most intriguing and original number was Icarus, which recast the myth as a tribute to thrill-seeking rather than cautionary tale. Other than emo and grunge, neosoul may be the unsexiest style of music on the planet, but Melome keeps it real and could elevate a lot of people along with her.
Charette is an intrepid player, as influenced by classical music and dub as he is by the icons of jazz organ. And he can be awfully funny – he’s the kind of guy who will get a crowd grinning and shaking their heads and asking each other, did he just play that? Uh huh, he did. As usual, he couldn’t resist throwing in a handful of droll quotes when least expected – and he’ll play anywhere. The Delancey is a rock club, but Charette was clearly amped to take the gig. He opened with the shapeshifting Yue Fei, from his Square One album and then followed with the LOL faux-operatic bombast of the tongue-in-cheek Not a Purist: welcome, my friends, to the show that never ends, step inside, step inside, he seemed to be telling the crowd.
Then he flipped the script with Hungarian Brown, a trickily rhythmic, haunting Romany melody fueled by Bernard’s searing slide work: who knew he had that up his sleeve. Charette and the band wound up the night with an expansively funky take of Jimmy Smith’s 8 Counts for Rita, leaving no doubt that was where James Brown – who got his start as an organist – found his first inspiration.
Charette’s next gig is at 8 PM this Friday, March 27 at Jules Bistro on St. Mark’s Place with Matt Chertkoff on guitar and Jordan Young on drums, his last New York show before heading off to the Czech Republic where he’ll be touring next month as part of powerhouse saxophonist Mike DiRubbo‘s trio.