Posts filed under ‘Bay Area music’
Powerhouse saxophonists make good foils for Lords of Outland, the free-jazz group that’s been a vehicle for saxophonist Rent Romus for more than 15 years, possibly 20. Vinny Golia made his contribution on the Lords’ Edge of Dark, and it’s Josh Allen’s big tenor sound that adds a jolt to Lords O Leaping.
Lords of Outland — now without Romus’ name on the cover — has explored the more ominous side of free jazz, often inspired by H.P. Lovecraft and the heavies of old-school sci-fi. Romus’ compositions often conjure images of gruff rebellion, but on many track’s it’s electric bassist Ray Schaeffer adding the dark shading, an ominous, liquid low end.
The title track gives each of the three horns — Allen, Romus on alto, and Collette McCaslin on trumpet — a chance to play over a quick-handed bass/drums backing. It’s a terrific exercise in free jazz. Allen’s composition “Plan 9″ seems to show a bit of the Albert Ayler influence that’s always driven Romus. It launches abruptly, with the three horns grappling in a way that adds up to an Ayleresque marching band filing into the room:
“Miasma” is a slower track with Allen in powerhouse mode, ending his solo with long screaming notes. Allen also gets to show off some raspy volume in “Rhetoric,” a track that starts with some silky group improvisation.
The Lords’ experiments with analog electronics figured heavily on previous albums, but the pedals and wires (probably performed by McCaslin, although Schaeffer gets a credit for them, too) are limited here to the track “Ara.” Amid the song’s gentle, even-handed setting, the retro bloops and buzzing play out as a solo against the bass and drums.
Throughout the album, Phillip Everett’s drums keeps the energy level up, filling space with quick wrist snaps on cymbals and toms. Romus spends long stretches comping alongside Allen, but of course he gets turns showing off his own darting, agile playing as well. McCaslin’s fleet trumpet adds a steely touch to the sound, although she’s often drowned out by the saxophones. It all adds up to another nice entry from a long-standing edition of the Lords.
Drummer Donald Robinson will be playing on Thursday, April 2, in a duo with saxophonist Marco Eneidi at the Luggage Store Gallery (998 Market St., San Francisco).
Ochs-Robinson Duo — The Throne (Not Two, 2014)
In purely physical terms, this sax/drums duo is a stripped-down version of Larry Ochs‘ Sax and Drumming Core, a trio that included Scott Amendola as a second drummer. But there’s a special element to a duo. It becomes a straight dialogue, a two-way interview, and when the players have known each other as long as Ochs and Donald Robinson have, you end up sitting in on an enlightened conversation.
Ochs is well known for the ROVA Saxophone Quartet, not to mention his solo work. Robinson, a fixture of the Bay Area scene, is a free-jazz drummer well steeped in the sound of the ’60s, and he deserves a lot more recognition for his work. His sound is characterized by a deliciously light touch — tight, delicate rolls on the snare and small but effective touches on the toms. It’s a subtle approach that can build to a blistering attack when the moment warrants.
A great example is “Red Tail,” which opens with a Robinson blast and a fast groove, Ochs providing a floating, warbly statement on the sax.
“Breakout,” starts with a funky, catchy snap and builds into a frenzied attack. “The Throne” is another high-energy track, opening with Ochs ping-ponging some riffs, digging deep while Robinson frames the choppy melody.
Much of the album is characterized by Ochs’ tart and aggressive sound on tenor sax and some sopranino. On the quieter side, “Failure” has a very calm, processional feel — an elegant exercise in restraint — while “Song 2″ has a touch of Mississippi blues in its casually sparse step.
“Open to the Light” is worth a special mention, as it’s dedicated to Glenn Spearman, the late tenor saxophonist who helped drive the Bay Area scene in the ’90s. Ochs and Robinson both played in Spearman’s Double Trio, and Spearman and Robinson were a duo themselves back in the day. “Open to the Light” is brisk and hopeful, an uplifting nod to a kindred spirit, with a touch of the kind of soaring, heavy tumult that Spearman was so good at building.
Robinson will be playing in a duo format with Marco Eneidi, a close friend of Spearman’s, on April 2 in San Francisco, as noted above. Robinson and Eneidi have played together quite often, including in a session called Straight Lines Skewed — which is, to my knowledge, the only album that has Robinson listed as the leader. It’s a trio session with Lisle Ellis on bass, an improvised jazz session that reveres silence as much as energy. Worth seeking out; Downtown Music Gallery seems to still have copies, as does Klompfoot (the former Cadence Jazz store).
A side note to that Fred Frith Trio show back in January …
While I missed Jack o’ the Clock, I did catch the show’s other opening act, a longtime Bay Area favorite called Trance Mission. It’s a world-music kind of trio whose grooves combine a droney sound with danceable beats — insistent music with a relaxed vibe.
Sometimes a quartet, Trance Mission has always featured Stephen Kent on didjeridu and percussion and Beth Custer on clarinets, vocals, and sundry (a bit of trumpet for this particular show, surprisingly enough). The latest version also included Peter Valsamis on the drum kit.
Of course, Kent and Custer have been involved in myriad other projects over the years. Trance Mission was a ’90s thing for both of them, but they still convene the group every now and again. I’d never seen them before that show at Slim’s, where I got a taste of what I’d missed all these years.
The didjeridoo allows for vocals and tongue slaps, so Kent often became the rhythm as well as the backing bass drone, freeing Valsamis to sprinkle the brighter colors of the drum kit. Kent also used a baby cello as an ersatz guitar on a couple of songs, for a different sound and a fun effect.
It was a really good time. I’m glad I finally caught up with them.
An all-star army of musicians will be handing off the mic, figuratively to produce 24 hours of sounds, tones, clatter, harmony, improvisation, and whatever else may happen. Performances alternate between two studios at KZSU, so that as one act performs, the next one can set up, keeping the music seamless save for introductions by DJ Miss Information — who in past years has MC’ed the entire 24 hours.
In other words, you are out of excuses. Tune in!
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
Local prog band Reconnaissance Fly is going to play on KZSU this Wednesday, Jan. 7, at 9:00 p.m.
KZSU hosts a band (usually a local one) every Wednesday at 9:00. It’s a show called Wednesday Night Live that’s been running for a very long time. The show hosted bands like Primus and Green Day long before the wide world discovered them. In fact, what’s left of an interview with Primus has been digitized and is in KZSU’s A-file right now.
Anyway. Reconnaissance Fly is a mix of prog and jazz, with lyrics derived from spam emails; I reviewed their first album, Flower Futures, about a year ago. For a taste of the band, you can check out some videos from their on-air performance at KFJC in August. The tune below is a nifty new instrumental written by bassist Tim Walters.
Tune in Wednesday at 90.1 FM in the Bay Area, or kzsulive.stanford.edu anywhere.
Straddling between melody and abstraction, the improvisations on The Djerassi Sessions build a cloaked mystery but feature more color than the gray-on-gray cover art suggests. The all-strings trio (koto, acoustic bass, and electric guitar) have produced an album of dark shadings that open the way for some fast, captivating playing.
Eat the Sun seems to have Hoopes’ bass miked as a lead voice in general, with his pizzicato work cutting through the groundwork of crunchy guitar noise and rustling koto. Even one note amid the din becomes a clarion call, as happens on “Postfeasttwo” and “Prefeastone.” I’m also partial to this busy passage from “Prefeast Three,” with Hoopes’ bass taking the lead.
Most of the pieces track atonal or cross-tonal melodies. Gretchen Jude’s koto often conjures up the most pleasant patterns of the three instruments (a Japanese motif, obviously) giving Hoopes room to rattle off some impressive jazzlike soloing. She also flits from meditation to rock-like rhythm to frenzied attack. The final seconds of “Postfeasttwo,” with koto and bass slashing viciously, make for a particularly fine moment.
Noah Phillips’s guitar often treads in noisy territory or, as on “Prefeastfour,” winds a path through newly defined scales of its own. It’s a ground fog that defines the mood: never quite pretty, even amid the playing of “normal” notes, and often thick with distortion. “Postfeastone,” for instance, flickers in and out of melodic logic, with the koto riffing against the sour tomes of a detuned guitar.
Eat the Sun is a trio that has definitely found an aesthetic and a sound. It’s territory ripe for more exploration.