Fred Frith‘s new trio will be touring around Europe late in February. As a prelude, they’ve played a couple of shows here in the Bay Area, including one at Slim’s that I got to see recently.
It’s a long-form improvising trio — you could certainly call it a power trio — with Jason Hoopes on bass and Jordan Glenn on drums. Electronics and loops help the bass and guitar build a screen of lingering sound, often dark and heavy. Listening to Hoopes in the band Eat the Sun was good preparation, actually.
In front of that curtain of sound, each player adds virtuosity to color the piece. The first of three long pieces they played started with a blast zone created by Frith and especially Hoopes, who was sawing away at one high note on the bass. That put Glenn in the spotlight quickly, with fluid drum rolls and high-precision hammering.
Hoopes stayed in a supporting role for a long while before finally taking a lead voice with a thick, bubbling stew of bass soloing. Hoopes is terrific on electric bass, and it’s always a treat to hear him really cut loose. This trio offers him a lot of space to do that, although you get the sense that he directs more energy toward shaping the overall sound.
Of course, Frith contributed too, with many of his usual tools, such as bows and other implements against the guitar strings. Recently, I was reading a critic raving about Frith’s detuning of the guitar during solos — about how he was able to make that “wrong” sound fit just right. I hadn’t thought about that too much, but as Frith untuned his low E string during one span, it struck me that it really was just right and in “tune” with the logic of what he was doing. Frith added a lot of conventional playing as well — crisp and chirpy sounds harkening back to his prog days.
It was a terrific set, although I have to admit I lost the thread at times. The drone or roar of the guitar and bass sometimes overwhelmed the sound for me; there was always something going on underneath it, but sometimes my mind had trouble penetrating that roar. That’s not always a bad thing (“drone” is a legitimate musical form, and this was certainly not a sleepy drone) but I could have used some more dividers in the music. It’s possible I was just too worn out on a Thursday night.
Frith’s choice of bandmates is significant. Like Art Blakey, he’s teaming up with younger musicians to infuse fresh ideas into his music. Glenn and Hoopes are part of a wave of accomplished artists he’s inspired while teaching at Mills College, where he was a mentor not only for improvisers but for songwriters pursuing thoughtful, complex pop/prog ideas — Jack o’ the Clock, the local band I’ve been raving about, being a prime example. (They opened the Slim’s show, but I didn’t make it to the city in time for their set, alas.)
The Frith Trio is going to spend a lot of time in Central/Eastern Europe (Germany, Austria, Hungary) with stops in Belgium and the Netherlands. It’s a good chance to see Frith, of course, but also to check out some of the strong talent the Bay Area has been nurturing. Here’s the tour schedule, as found on Hoopes‘ and Frith‘s web sites:
Feb. 19 — Zagreb, Croatia
Feb. 20 — Göppingen, Germany
Feb. 21— Vienna, Austria
Feb. 22 — Budapest, Hungary
Feb. 23 — Bolzano, Italy
Feb. 24 — Middelburg, Netherlands
Feb. 25 — Brussels, Belgium
Feb. 26 — Konstanz, Germany
Feb. 27 — Berlin, Germany
Feb. 28 — Dortmund, Germany
March 1 — Wels, Austria