Posts filed under ‘shows (past)’
If you were to ask me what makes Tim Berne’s music so appealing, I’d probably point you to one of his fast themes. That stacatto zig-zag melody, set in a long and ambling thread, has become a signature sound of his, and it catches my ear in an almost rock-music way.
But I also appreciate Berne’s ability to build drama, in carefully developed, looming plotlines. I’ve been familiar with that aspect of his work for a long time — the song “2011” from Meanwhile, his 1986 collaboration with Bill Frisell, comes to mind.
It struck me during Berne’s show last Sunday, at Berkeley Arts Festival, that his current Snakeoil band nicely highlights that sense of drama. It’s the chords. With Matt Mitchell on piano and Ches Smith sometimes on vibes (when he’s not rustling or bashing at the drum kit), the compositions get a rich harmonic backdrop, something I’m noticing more now than with previous keyboard bands.
The drama came across as Snakeoil played a set of the longer pieces from the new album, You’ve Been Watching Me (ECM, 2015). One passage that particularly struck me had the piano churning out a slow cycle of quarter-note against Oscar Noriega‘s high-pitched blaring on clarinet, the insistent rhythm building tension until the band launched into a majestic composed theme. It’s that theatrical pacing that makes Berne’s longer compositions work.
The band we saw was the original Snakeoil quartet, without Ryan Ferreira, the guitarist who’s included on the new album. They looked a little tired, and rightfully so. The west-coast swing of their tour had just passed through Los Angeles, where they’d had a gig canceled — without being told until they got to Los Angeles. We tried to make up for it with a warm welcome — maybe 70 or more filling up the storefront gallery of Berkeley Arts.
Oscar Noriega’s bass clarinet was often hard to hear over the drums, taking away some of the counterpoint that I enjoy in Berne’s writing. But we got to hear plenty of Noriega on plain clarinet, the higher notes sprinting or floating through the music. Some passages highlighting clarinet and vibes were particularly nice.
I think it was on “Embraceable Me” that Matt Mitchell showed off his talent at playing “split” piano, with his two hands doing almost unrelated things. That kind of musical puzzle was the foundation of his album, Fiction (Pi Recordings, 2013).
Another moment that stood out was the show’s opening — the song “Lost in Redding,” which immediately dived into the kind of fast, pecking melody that I was talking about at the beginning. From that point, we knew it was going to be a fun ride.
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.
Henry Threadgill didn’t play a note at his recent Yerba Buena Center for the Arts performance, but the audience didn’t mind. He was rewarded with enthusiastic applause before and after his performance as he grinned ear-to-ear.
Threadgill can still play, of course. It’s just that his new septet, Double-Up, puts him in he role of composer and director rather than sax player. It’s not much different from the concert I saw with The Dreamers, a John Zorn band where Zorn composes and conducts, rather than playing.
In concept, Double-Up (two pianos, two saxophones, cello, tuba, and drums) is a tribute to Butch Morris, a friend of Threadgill’s who pioneered conduction, the shaping of orchestral improvisations into cohesive, on-the-spot pieces. But as Threadgill pointed out to journalist Andrew Gilbert, Double-Up isn’t meant to be conduction. Threadgill provides composed charts and is on hand more like a base coach than a conductor.
The applause he received was certainly directed at the performance — two long suites full of life — but it was also a pent-up outpouring for a man who plays out here only rarely, if ever. Threadgill was getting a little extra joy from people like me who were just glad he was there.
Threadgill was happy to be there, too. Minute before opening curtain, he was still wandering the lobby, smiling broadly as he spotted and greeted old friends.
He’d been coaxed to San Francisco by former student Myra Melford and Yerba Buena music curator Isabel Yrigoyen to open the New Frequencies Fest, a three-day celebration of creative jazz. The stage would later be occupied by big-name guests such as Matana Roberts and Satoko Fujii, and also by generous cross-sections of Bay Area talent: Karl Evangelista and Grex; Lisa Mezzacappa’s Bait and Switch; Melford herself, performing with Joëlle Léandre and Nicole Mitchell; and Ben Goldberg’s Orphic Machine.
But opening night was all Threadgill. It was short — I overheard someone commenting they would have enjoyed hearing a third piece, and I have to agree. But it was grand.
The first piece was a colossal jazz suite. The tonalities had that Threadgill flavor to them, partly through the composing and partly through the use of two low-end players steeped in Threadgill’s music: cellist Christopher Hoffman and tuba player Jose Davila. The two pianists were allowed nearly free reign, however, so David Virelles and a second pianist (who wasn’t listed in the program) sometimes dipped into small stretches of velvety, lush colors you’d associate more with straightahead jazz. They started the piece with a lengthy free improvisation, just the two of them, each keyboard taking the lead for a long stretch to paint an angular, contemplative canvas.
At shows like this, people struggle with the dichotomy between the jazz listener who applauds the solos and the art patron who stays patiently silent while the artists make their statement. The Yerba Buena audience took a while to decide which way to go. So, as the piano segment gave way to the composed piece, and as Davila took the first solo — some rock solid work on tuba — everyone stayed silent. It wasn’t until later in the piece that we all decided we’d applaud the solos, and the theater warmed up considerably from there.
Threadgill dictated the sequence of solos — I think he might have chosen every soloist, in fact. I remember Curtis Macdonald delivering a particularly rowdy alto sax solo, as if to stir the crowd into action, and Hoffman sawing mightily on the cello. Craig Weinrib’s drum solo, played off of the crowd’s early silence, starting with isolated taps and long pauses before very slowly building into a firestorm.
That first piece had plenty of jazz swing in it — of the Threadgill variety, anyway. The second piece added a dose of academia. It was just a bit slower and followed a more deliberate melodic path, calling upon a different set of instincts for players and listeners alike. It wasn’t an overly difficult piece, just different, an exercise of a different muscle.
What’s interesting is that neither piece felt entirely like a Henry Threadgill piece. Or, more specifically: Double-Up sounds distinctively different from Zooid, Threadgill’s ensemble of the past few years. My guess is that by giving the players such free reign, he aims to create a new sound amalgamated from all their ideas. The group’s personality seemed to pull in different directions at times — that uncomfortable feeling that Piece A and Piece B don’t really mesh to form a suite — but maybe that’s part of the formula.
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
I can’t say I’m “into” Bela Bartok, but I tapped into some of the string quartets. I was egged on, unintentionally, by a friend who mistook the stern violin-pulsing intro to King Crimson’s “Lark’s Tongues in Aspic, Part 1” for a Bartok piece. This wasn’t a friend who’d be into King Crimson. I figured I had to check out Bartok.
The string quartets didn’t scream Crimson-ness to me. What Bartok is better known for, apparently, is his use of Hungarian folk idioms. That side is the basis for a duo project that Phillip Greenlief and Cory Wright have been working on — two clarinets playing selctions from Bartok’s 44 duets (originally written for violins), adding stretches of solid improvisation.
I saw them perform some of these pieces in April, at Studio Grand in Oakland. It was a fun session, and relaxed. Greenlief and Wright had the whole book of 44 duets ready to pick from. Between pieces, they’d briefly huddle and pick which of the short duets they’d string together to form the next song.
What few notes I scribbed down are lost to time, but what I remember is that the set was fun. You really could hear the elements of folk music in the themes, and Greenlief and Wright used those springboards to spin long improvisation, wringing the jazz out of Bartok’s notes.
Given the amount of variation that’s possible with this project, it’s good to see them performing it multiple times. Monday’s show will be their last performance in 2014, though.
Human Feel got a predictably enthusiastic response at Kuumbwa Jazz Center, thanks to the turnout of fanboys (and girls) like me. But they also won over the Santa Cruz regulars and Kuumbwa members who’d come not knowing what to expect. I heard at least a couple of them walking away happy, in a chattering and giddy mood.
The band’s music, full of sharp-angled melodies and spans of loud improv abandon — certainly doesn’t fit the normal jazz arc, which is what attracted me to the band in the first place. But their tunes often have pleasant and traceable themes, and the band performed with convincing punch and verve. I’m sure they made a few new fans that night, and they didn’t disappoint the old ones.
The set was good, of course, and packed with energy and sweat, but Andrew D’Angelo‘s stage banter won the crowd over, too. He’s got good stage presence, but he was also gifted with some material in the form of a three-hour flight delay out of Seattle and a couple of lost bags. Airline troubles are nothing new to veteran musicians, but they still provide good stories to tell on stage.
The upshot was that the band, minus Kurt Rosenwinkel‘s guitar pedals and Jim Black‘s drumsticks, got into Santa Cruz just after the designated 7:00 p.m. start time. They rushed through a “live” sound check, testing out borrowed gear while we in the crowd finished our dinners and desserts.
As reward for our patience, we got D’Angelo’s spasmodic sax energy, the heavier guitar-hero side of Rosenwinkel (who spends most of the time in the background with this band, but it’s a hard-working, space-filling background) and of course Jim Black’s drumming, which quite a few people came for, judging by the crowd response. I chose to sit on Black’s side of the stage, so he drowned out the others sometimes (which is why I don’t have much to say about how Chris Speed sounded) but that was a conscious tradeoff, and I wasn’t the only one making it. We got to savor Black’s shapeshifting grooves, full of explosions, torrents, and subtle clinks and clanks.
They tried something really different on “Numer Ology,” a piece D’Angelo said was inspired by cosmic questions about the meaning of existence and the arbitrary nature of fate. Most people took it as a joke, but D’Angelo was diagnosed with brain cancer seven years ago and defeated it without chemo or radiation therapy, so these questions mean a lot to him.
The song consisted of short phrases and short improvisations, all separated by long, weighty pauses. It was at one highbrown and good-humored — and then at one point, D’Angelo picked up the mic and cued us to shout out our meaning-of-the-universe theories after the next phrase. Apparently most crowds just blurt it all out at once; we kind of did it one at a time, classroom-style. It wouldn’t have sounded great on a record, but people got into it.
If Human Feel has anything like a hit single, it’s “Sich Reped,” D’Angelo’s poking, sharp-angled 7/8 tune, and that was their closer. Most of the tune went by at a slightly slower pace than on the album Welcome to Malpesta, making for a sound that was still fun but not as jabbing as it could have been — until the end, when D’Angelo and the others opened up the throttle and poured it on. It was a great crowd-pleaser, and of course it got them an encore — a piece that D’Angelo dedicated to the airline they’d flown and that opened with a roaring, screaming improvisation.
Despite having four successful careers to juggle, Human Feel has now gotten together for two post-’90s albums — Galore, and the soon-to-be-released new album. I treated this show as my only chance to see the band, but now I’ve got my fingers crossed for the future.
It was good to see Jim Ryan in high spirits for his 80th birthday concert last Sunday. The time slot competed with a few other good events, but the SIMM series at San Francisco’s Musicians Union Hall draws a good turnout. The room was nicely crowded and full of conversation between sets, fueled by cake and melting ice cream (the Union Hall’s performance space gets warm quickly).
Ryan handed out glow bracelets and laser rings that everyone had to wear, and he put on a good show in two sets of flute, sax, and poetry.
Beyond being a performer, Ryan has been an organizer and instigator on the scene. In the late ’90s and early ’00s, he ran a local zine, back when there were such things and most people didn’t have web sites. He also curated a few different weekly series, including one at the Starry Plough in Berkeley — a venue where the ownership and bookers are friendly to creative music, but the crowds sometimes aren’t.
I remember one show there with a group called Mosthumbz — out-there, jazzy stuff with a heavy improv component. The bar was full of regulars that night for some reason, and they were grumbling about the music. But one of their compatriots — a guy with an Irish accent, even — stood up for the music. “This is what I love about the ‘Plough. You never know what you’re going to get,” he said, and he meant it. And he enthusiastically applauded every number.
Organizing creative-music shows certainly has its frustrations. Hopefully, little moments like that enhance the rewards.
Ryan’s birthday concert opened with Jordan Glenn’s Mindless Thing. The band played drummer Glenn’s thoughtful, chamber-like compositions, which seemed to be built around Ryan’s poems, with music and words serving one another as accents and punctuation. Ryan’s poems were a gradual tumble of thoughts, introspective scenes cut with surreal changes of direction and a sense of humor.
The band was heavy in tuned, percussive instruments — vibraphone (Rob Lopez), hammered dulcimer (Damon Waitkus), piano (Michael Coleman), and guitar (Karl Evangelista) for sounds that could be placid like deep water or rustling and restless like a mountain stream. Evangelista kept the guitar volume turned down, but still shredded madly in places, creating an oddly pleasant background fuzz — it was a nice effect. Their closing piece had everyone playing homemade can-and-string instruments, gently banging and plucking away.
For the second set, Ryan led a quartet with Scott Looney (piano), Jason Hoopes (bass), and Jordan Glenn (drums) in a long, jazzy improvisation that kicked off as a fast and heavy post-bop bounce. They kept that jazz vibe going for a second piece featuring Rent Romus (sax) and C.J. Borosque (trumpet), who along with Looney had been members of Forward Energy, a Ryan-led improv band. That piece took off like a screaming rocket and kept the energy going for the most part, a good upbeat way to close out the birthday celebration.