I wasn’t at Kingman’s Ivy Room tonight, but I was a few weeks ago, and what better excuse to write a blog.
The Ivy Room is a mid-sized bar, plush and casual and friendly, located in Albany just blocks north of Berkeley, or so it felt to me as I drove up. The place is being kind enough to let the improv crowd take over on Monday nights, either for a few short sets or an all out Improv Hootenanny Night that has its own MySpace page.
It’s a fun atmosphere. There’s no cover, and the Ivy Room is airy and clean — the kind of place where you’re welcome to sit on the carpeted floor in front of the music area, and you don’t worry if anything’s been spilled there. (Caveat: Monday night crowds aren’t usually the spilling type.)
Some photos from my May 25 excursion. Yes, the date on my camera was wrong.
Up top, you’ve got Lisa Mezzacappa‘s Bait and Switch, the successor to Before and After. It’s free jazz, with compositions derived from the best segments of group improvisations. The result is like Ornette Coleman taken a step further into abstract territory and noise rock at the same time, with a mood that jumps like ’60s free jazz. That’s Mezzacappa on bass and John Finkbeiner on guitar.
At left is a second picture of the band, with Aaron Bennett (sax) at left. In this one, Vijay Anderson (drums) and Mezzacappa are obscured, making it look like the two white guys are all that matters. Hey, it was dark. All I do is point the camera and hope.
The trio of Jacob Felix Heule (drums), Aurora Josephson (vocal), and Damon Smith (bass) did one long improvisation, a dark and keening piece with Josephson’s voice spiking in anguish. Nice stuff.
I don’t recall the details of the quartet at left. I’m pretty sure that’s Tony Dryer on bass at the far left, and two of the four members were from Norway (the guitarist and other bassist?). They, too, played a single long piece, concentrating on smaller, quieter spaces; the guitarist, in particular, buckled and thrashed to the music but was producing small crackles and crinkles, a kind of studied intensity.
It’s always nice to see a bar or restaurant take a chance on experimental music. A good cluster of these series has sprung up, maybe because venues are more willing to take chances in the face of recessionary crowds. The Make-Out Room (San Francisco, Mission District) has been hosting creative jazz on the first Monday of each month, and The Uptown (Oakland, downtown) is letting Weasel Walter curate an avant-garde program on third Tuesdays. The next of those will be tomorrow, and I’m hoping to be there, sleep cycle permitting.