Switchboard Festival, Aaron Novik

Gubbish and Kipple are two sides of the Aaron Novik coin.  (A coin that has about six sides, if you want to take the analogy literally.)

On the grand org chart of jazz, Gubbish draws a dotted line to Patrick Cress’ Telepathy (see here and here), mixing energetic small-group jazz with dashes of Klezmer, a love of odd time signatures, and a touch of snarkiness at the bottom of it all.

Kipple was an improvisational project of Novik’s, leaning towards grooves with funky bass and electric piano.  A comparison to Electric Miles would be too easy and too far off the mark;  I like the description of “retro future,” drawing a futuristic sound out of the space jams of the psychedelic past. Kipple doesn’t go too heavily for the synthesizers or the loops, but it does have repeated riffs that make for some good beats.

Why bring this up, considering both albums are so old? Partly because I played them on the air today (so, consider this a preview offshoot of the March 26 playlist posting).

And I did that because Novik’s Thorny Brocky — another band with a sound I’d guess is apart from these two — is the opener at Sunday’s Switchboard Music Festival in San Francisco.

Switchboard sounds like an eclectic good time: eight hours’ worth of bands from multiple stripes of the spectrum.

Of the other bands I know: The Real Vocal String Quartet brings a classical air to new-folky instrumental music; their new album isn’t at all “avant-jazz” but once I give it a listen, I might still write it up here, so there.  And the festival ends sometime after 10:00 p.m. with miRthkon, a local prog band that I geeked out about here and here.