tnycjr201305

More documents

Recommendations

Info

22 May 2013 | THE NEW YORK CITY JAZZ RECORD Eponymous Federico Ughi Quartet (FMR) by Marc Medwin Given the diversity of this group’s collective background, the many nods toward tradition are almost surprising. It isn’t that drummer Federico Ughi, altoist David Schnug, cornetist Kirk Knuffke and bassist Max Johnson aren’t steeped in the jazz tradition; their credentials are well established and they have developed long-standing collaborative projects in various formations and contexts in and around jazz. The fact is, however, that they also embrace many others, from bluegrass to art rock and much in between, though subtlety of form and reference seems to be the path trod on every track of this quartet’s debut. The most overtly non-’jazz’ offering here is “Wearing a Wire?”, with its smart and soulfully driven rhythms, courtesy of Ughi, supporting a heavily accented unison melody. Knuffke’s solo gradually morphs from blues to something on the order of Plugged Nickel-era Miles as the others weave in and out of funk and noisy free jazz modes. Frequent pauses and tempo shifts only add to the track’s in-your-face intrigue, conjuring shades of Ornette Coleman’s later projects in the process. The rest of the album draws on Coleman’s work as well, particularly the jaunty “Technicolor”, sounding as if it was pulled from one of the Sound Museum discs, but, of course, none of the music adheres so strictly to form and structure. The labyrinthine melodies and drones of “Ange” are closer to the New York Art Quartet’s brand of musical cinematography than to anything Coleman waxed as Ughi supports the constantly shifting structures with expert brushwork. If one aspect of the disc could be changed, it is the almost incessant reliance on unisons. On future efforts, the group would do well to skip right to the bluesy or pointillistic bits, saving unison passages for special occasions. That said, these ten compositions, augmented by Ughi’s polyrhythmic and timbral facility, Schnug’s unpretentious growls, Knuffke’s smooth warm tones and Johnson’s flawless arco, add up to make an excellent first effort. For more information, visit fmr-records.com. Ughi is at Ibeam Brooklyn May 18th and 24th with this project. See Calendar. Audacity George Garzone/Frank Tiberi (Stunt/Sundance) by Stanley Zappa While there is nothing at all audacious about Audacity, what’s not to like about saxophonists George Garzone and Frank Tiberi weaving predictably crafty, intricate lines atop a rhythm section that never really exceeds the Jamey Aebersold play-along threshold of rhythm section persuasion? Should the recording sound stiff, drummer Jakob Hoyer, though not the solution, is not the problem. Rasmus Ehlers’ piano solos make one wonder what happened to his left arm. On “Two Brothers”, the effect is memorable, like meeting someone really hot who for some reason doesn’t have a nose. By “Solar” (track 6), all hotness has been eclipsed by the harmonic noselessness. Jonas Westergaard’s bass is unwavering, unflappable and, at the same time, unremarkable. Fortunately, this is not a problem in light of the more pressing agenda of presenting two acknowledged, well ensconced, thoroughly documented masters once again romping through the tropes and paying homage to John Coltrane 46 years after his death, at this juncture in their long and storied careers, in the year of our lord 2013. “My father died...I was left to support the family and at 13 I had gigs three nights a week,” says Tiberi (born 1928) in the liner notes to Audacity. If social conditions have any effect on one’s musicality, there won’t be too many Frank Tiberis making their version of Audacity in the year 2080. His sound, vocabulary and phrasing come from social realities and economic conditions long gone. Tiberi’s composition “My Man“ and his solo therein is why he is to be treasured. Though younger, Garzone also enjoyed that commercially archetypal time in improvised music so deftly commodified by the participants. Garzone has the value add of a career in academia, which he capitalizes on throughout the recording; those aesthetic dividends contribute significantly to Audacity’s net worth. That said, everyone would be the poorer were Audacity the only recorded statement for anyone involved. For more information, visit sundance.dk. Garzone is at The Stone May 19th with Uri Gurvich and ShapeShifter Lab May 25th. See Calendar.
People Music Christian McBride & Inside Straight (Mack Avenue) by Robert Milburn In the mid ‘00s, Village Vanguard owner Lorraine Gordon told bassist Christian McBride that his electric band was not appropriate for the revered venue. And so McBride began assembling his acoustic quintet Inside Straight as per Gordon’s request. People Music submits to a more traditional format out of necessity, but avoiding reversion to some disingenuous mean. The title refers to the bassist’s constant balance between creative abstraction and visceral crowdpleasing. In employing saxophonist Steve Wilson and vibraphonist Warren Wolf (plus pianist Peter Martin and drummer Carl Allen), the bassist generates this unique brand of intrigue, which ranges from the dizzying tenacity of Wolf’s “Gang Gang” to the cool soulfulness of McBride’s “New Hope’s Angel”. On the former, bass and piano maintain a driving ostinato while vibes swoon and explode in exuberance. The latter, inspired by the untimely death of vocalist Whitney Houston, has a velvety smoothness with Wilson’s soprano dialed to a dulcet melodiousness. Meanwhile, the funky evocations of “Unusual Suspects” rest somewhere in between. The opening and penultimate tracks are noticeable departures from the quintet’s harmonious steadiness. Here, pianist Christian Sands and drummer Ulysses Owens, Jr., young McBride trio mates, replace jazz vets Martin and Allen. While Martin’s caressing fluidity is subtly substituted for Sands’ soulful facility, the explosive theatrics of Owens is cast against the veteran drummer’s assured composure. “Listen To the Heroes Cry” is particularly demonstrative: Owens erupts in a flurry of cymbals as Sands’ fleeting lines tense in sultry provocation. McBride is obviously pleased, his playing flaring in intensity. The disc has already received the Gordon stamp of approval - the band played at the venue in December. For listeners, People Music is yet another truly swinging celebration of the bassist’s adept musicality. For more information, visit mackavenue.com. McBride is at 92nd Street Y May 23rd-24th. See Calendar. Borderline Brian Charette (SteepleChase) by Ken Dryden Although not the first recording of solo Hammond B3, it is a rare occurrence. Yet the instrument has more potential than the piano, given its wide range of sounds and ability to create a bassline with the pedals. Brian Charette has been one of the rising stars of the Hammond B3 and it’s obvious why with this fine effort. He draws from numerous decades and styles of music, including jazz standards, pop songs, bop and bossa novas, varying his approach and keeping most performances under the five-minute mark. Charette opens with a fluid, lively interpretation of Chick Corea’s “Windows”, adeptly varying the volume as he offers a masterful improvisation. His punchy take of Duke Ellington’s “C Jam Blues” recalls the heyday of Jimmy Smith while his rapid-fire attack in Charlie Parker’s “Donna Lee” also has a slow interlude focusing on a deliberate left-hand improvisation. Charette’s dancing footwork and fleet fingering in “How Deep is the Ocean” brings new life to this standard while he slows to a crawl for a sauntering stroll through “Body and Soul” and “Georgia On My Mind”. It’s little surprise that there’s some Gershwin as well, including a romping bop treatment of “I Got Rhythm” and a whimsical setting of “Embraceable You”. Intimate takes of “Corcovado” and “The Girl From Ipanema” don’t need a vocalist or additional instrumentation to convey their messages. Charette is most impressive with songs one doesn’t associate with jazz: Hall & Oates’ “Sara Smile”; Jimmy Webb’s “Up, Up and Away”; Classic 4’s “Spooky”; Reggie Lucas’ “Borderline” or the James Bond theme “You Only Live Twice”. In each case, the organist reveals their potential with thoughtful interpretations in which he mixes changes in key and tempo, along with intelligent thematic variations. This impressive foray into solo Hammond B3 may provoke fellow players to consider similar projects. For more information, visit steeplechase.dk. Charette’s Organ Trio is at ShapeShifter Lab May 24th. See Calendar. Cross Culture Joe Lovano Us Five (Blue Note) by Joel Roberts Joe Lovano’s third outing with his Us Five quintet (and his 23rd recording for Blue Note over the past 20-plus years) is another example of the tenor saxophone titan’s adventurous spirit and ever-restless nature. His first two dates with the group focused, respectively, on Lovano originals and radically reinterpreted versions of Charlie Parker classics. His new release, as the title implies, incorporates more of a world-music aesthetic. But the real focus is on remarkable group interplay. The lineup once again features pianist James Weidman, drummers Francisco Mela and Otis Brown and Esperanza Spalding on bass, though in acquiescence to Spalding’s busy schedule as a burgeoning superstar, she’s replaced by Peter Slavov on a few tracks. West African guitarist Lionel Loueke is also heard on several numbers, enhancing the album’s stated boundary-crossing theme. Lovano and Loueke demonstrate a strong, almost telepathic bond, particularly on the intense “In a Spin”, which features a wild turn by Lovano on the aulochrome, a new kind of polyphonic double soprano saxophone. He’s also heard on numerous other horns besides his usual tenor, including the G-mezzo soprano and the tarogato (an Eastern European folk instrument). And as if the already formidable two-drum attack of Mela and Brown isn’t enough, Lovano joins in on percussion on several tracks, playing things like an Israeli paddle drum and Nigerian slit drum. Most of the tunes are wide open and sound more improvised than thoroughly composed. “Myths and Legends” is a frenetic free-for-all for all five members of the core quintet while “PM”, a dedication to the late drum legend Paul Motian, features some of Lovano’s most energetic solos. The group’s overall aesthetic, and Lovano’s approach in general, is perhaps best represented on the album’s one non-original, the gorgeous Billy Strayhorn ballad “Star-Crossed Lovers”. While Lovano plays majestic tenor, channeling past masters from Ben Webster to John Coltrane, the rhythm section ventures off into unexpected places, leading Lovano to respond with some off-kilter, atonal patches. It’s an example of Lovano’s constant desire to push jazz forward while remaining wholly devoted to - and a part of - the tradition. For more information, visit bluenote.com. Lovano is at Village Vanguard May 28th-Jun. 2nd. See Calendar. NEW 236 West 26 Street, Room 804 New York, NY 10001 Monday-Saturday, 10:00-6:00 Tel: 212-675-4480 Fax: 212-675-4504 Email: jazzrecordcenter@verizon.net Web: jazzrecordcenter.com LP’s, CD, Videos (DVD/VHS), Books, Magazines, Posters, Postcards, T-shirts, Calendars, Ephemera Buy, Sell, Trade Collections bought and/or appraised USED Also carrying specialist labels e.g. Fresh Sound, Criss Cross, Ayler, Silkheart, AUM Fidelity, Nagel Heyer, Eremite, Venus, Clean Feed, Enja and many more THE NEW YORK CITY JAZZ RECORD | May 2013 23
Page 1: May 2013 | No. 133 WILL CALHOUN You
Page 4 and 5: NEW YORK @ NIGHT The Hell’s Kitch
Page 6 and 7: Photo by Bill Bernstein INTERVIEW D
Page 9 and 10: ON THE COVER In accepting one of tw
Page 11 and 12: MEGAPHONE Cornet and Lineage: Ron a
Page 14 and 15: CD REVIEWS HUSH POINT SSC 1358 In S
Page 16 and 17: GLOBE UNITY: ITALY Sin Fronteras Ac
Page 18 and 19: $18 ADVANCE $20 AT DOOR 9/20: Roy E
Page 20 and 21: Oye!!! (Live in Puerto Rico) Miguel
Page 24 and 25: The View From Here Kyle Eastwood (J
Page 26 and 27: Haymaker Noah Preminger (Palmetto)
Page 28 and 29: Chants Craig Taborn Trio (ECM) by J
Page 30 and 31: LASZLO GARDONY / CLARITY SSC 4014 I
Page 32 and 33: 32 May 2013 | THE NEW YORK CITY JAZ
Page 34 and 35: Time Travel Dave Douglas Quintet (G
Page 36: BOXED SET Ten Freedom Summers Wadad
Page 39 and 40: Saturday, May 4 êCyro Baptista and
Page 41 and 42: Monday, May 13 êGil Evans Birthday
Page 43 and 44: Saturday, May 25 êMark Soskin Trio
Page 45 and 46: CLUB DIRECTORY • 54 Below 254 Wes
Page 47 and 48: KENNY BALL - The British trumpeter

tnycjr201305

Create successful ePaper yourself

Delete template?

Save as template?