Last week, I finally made it to one of The Uptown‘s avant-garde Tuesdays. Took long enough. For several months now, the club — normally a rock venue, and one with a nicely renovated bar at that — has handed the keys over to the improv crowd for an evening of no-cover music.
It’s great when clubs do that. The Uptown is particularly well suited for it, because the regulars who do trickle in on these otherwise slow nights don’t have to watch the music. There’s a long wall separating the stage and performace space from the bar. The sound goes around the wall easily, so the bar patrons and the musicians are probably distracting each other the whole time — but as bar gigs go, it’s not bad at all.
(Flashback: This space used to be called the Black Box, and the bar half was an art gallery. Moe! Staiano’s Moe!kestra did a gig here where two orchestras were set up in each half, with Moe! sprinting back and forth to conduct each group. I wasn’t there, but the results were recorded for the album, 2 Rooms Of Uranium In 83 Markers: Conducted Improvisations Vol. II.)
I hope they keep this up. Don’t know what the bill is for September yet. (These shows tend to get posted to the Uptown’s calendar only a week or two ahead of time).
Anyway, a summary of what I managed to see:
Ingrid Laubrock and Tom Rainey — A sax/drums duet from NYC who had crossed this way a few months ago on tour. This time, they were on vacation and just taking the opportunity for a quick gig. They did two mid-sized improvisations, probably 10 minutes each, showing off a good rapport and a nice variety of styles. I’m familiar with Rainey through his work with… well, everybody, especially Tim Berne, so it was great to get a chance to chat with him for a minute or two.
Tim Perkis, Phillip Greenlief, G.E. Stinson — An interesting middle piece with the lights down, and abstract video projected onto a screen. After a while, you could tell the video consisted mostly of outdoor shots of streets and lonely buildings, distorted beyond recognition. The music shifted from ominous droning sounds to occasional slashes of noise, particularly from Stinson (guitar). Greenlief’s sax often stuck to subtle tones and bleats, blending into the mix of electronics (Perkis) and guitar effects.
Aram Shelton Quartet (pictured up top) — Back to more acoustic-minded improvising, although the quartet included Perkis for some more electronics fun. The quartet, rounded out by Damon Smith (bass) and Jordan Glenn (drums), played a few good improvisations. Nice stuff, and a good contrast to Shelton’s jazzier work with Dragons 1976 and the Ton Trio (as noted here).