Comeuppance: Still Baiting and Switching
There’s no Captain Beefheart cover tune on Comeuppance, the second album from the Bait & Switch quartet, but the influence lives on. John Finkbeiner colors the session with crackly guitar freakouts, and Aaron Bennett’s sax breaks orbit with slashing, free improvisations.
Bait & Switch is about Mezzacappa’s compositions delivered with serious attitude. Since the release of the debut CD What Is Known, they’ve had a few years to let that formula steep, playing their swingy themes, hard-driven free jazz, and spaces of free improvisation at gigs that have included the Monterey Jazz Festival.
“Le Crabe” opens with a characteristically scribbly theme that opens up into a free-blowing sax solo, Finkbeiner’s guitar chopping and chugging behind him. “Cruciferous” features a hard, scrambling guitar reminscent of Beefheart (whom they covered on What Is Known). Later in that song, Finkbeiner repeats a wacko glissando while Aaron Bennett solos on sax — the glissando becoming, in essence, the “composed” part of the song.
Each of those tracks is a mini-suite that includes a slower or more sublime phase, a chance to hear the band’s different personalities. “Old” plays that way too, contrasting a tart swing wrung from the jazz tradition with small interludes of spare and playful improvising.
“X Marks the Question” starts out like it’s going to be a slow, thoughtful piece — and it is, including a pleasant sax/bass interlude, until Finkbeiner’s guitar solo, egged on by Vijay Anderson’s insistent drumming, draws the band into a fiery blur. “Las Hormigas Rojas” plays around with a straightforward march beat, hinting at Mexican folk music while Bennett and Finkbeiner play scrambled mutterings, like kids in class talking behind the teacher’s back. And “Luna” is a slower track with an uneasy, foreboding air throughout. Finkbeiner plays a sublime guitar solo there, after some buzzy, high-energy sax from Bennett.