Posts filed under ‘upcoming shows’
Tim Berne’s Snakeoil has released its third album on ECM and is backing it with a U.S. tour launching this week. There’s only one California stop, at the Berkeley Arts Festival (2133 University Ave, Berkeley) on Sunday, May 3.
It’s too bad Yoshi’s is no longer an option. The club’s plush environs suited the sophistication and silences of the originial Snakeoil, especially the glassy foundation laid down by Matt Mitchell’s piano. The live act is more jagged than the ECM-polished version on disc, but it still worked really well in that club. Alas, in the time since Berne played there in 2012, Yoshi’s has become more of a pop venue.
Berkeley Arts doesn’t have Yoshi’s acoustics, but it will provide a receptive crowd that won’t be talking over the music, and we’ll be physically closer to the band. For Berne, the economics might not be the same (actually, who knows; maybe they’re better) but it’s a good tradeoff for us in the audience.
Released on April 10, You’ve Been Watching Me [WARNING: link launches an audio file] adds guitarist Ryan Ferreira to the original quartet of Oscar Noriega on clarinet, Matt Mitchell on piano, and the versatile Ches Smith on drums and percussion. New York audiences got a taste of the new mix at Roulette and Barbès concerts in 2013. Video evidence was posted online — part 1 of the 5-part Barbès concert seems to have gone missing, but here’s part 2:
Cut-and-pasted directly from Berne’s web site (screwgunrecords.com), here’s the Snakeoil itinerary:
April 21 : New York NY, Jazz standard
April 24 : Philadelphia PA, Barnes Museum
April 25 : Baltimore MD, an Die Musik
April 26 : Washington DC, Bohemian Caverns
April 28 : Buffalo NY, Hallwalls
April 29 : Toronto ON, Music Gallery
May 3 : Berkeley CA, Berkeley Arts Festival
May 4 : Seattle WA, Royal Room
May 5 : Portland OR, Jimmy Mak’s
May 6 : Sante Fe NM, GiG performance Space
May 7 : Albuquerque NM, The Outpost
May 8 : St. Louis MO, New Music Circle
May 9 : Chicago IL, Constellation
May 10 : Detroit MI, Trinosophes
May 11 : Minneapolis MN, Icehouse
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).
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!
Interesting progressive-rock-related bill coming up Sunday night, Dec. 14, at a venue I’m not familiar with: Leo’s Music Club (5447 Telegraph Ave, Oakland):
MiRthkon is a prog band mixing heavy guitars with saxophones and bass clarinets, a mix of rock intensity and cerebral whimsy. My last mention of them was a show with Kayo Dot. Here they are live in a more recent show: Rock in Opposition 2013.
Surplus 1980 is Moe! Staiano’s post-punk band, a spastic loudness that’s gleaming with intelligence. They’ve been on hiatus; the band’s most recent output was a 10″ vinyl record that’s available at Squidco, among other places.
Jack o’ the Clock — which mixes the bucolic and the highbrow in a stew of prog, folk, classical, and jazz, is the band I’ve seen the most often out of these three. They’ve been taking a break as well, woodshedding new material, according to the emailer they sent out. Here’s some audience video of a performance from September a year ago.
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.
(UPDATE 11/15: Amanda at the Catsynth blog has posted a review of the show. Sounds like it was a great time.)
Sun Ra turned 100 this past spring, and Bay Area musicians don’t want to let the moment pass without doing something big around it.
So, there’s going to be a celebratory concert at the Center for New Music (55 Taylor St., San Francisco) on Wed., Nov. 12, at 7:00 p.m.
Details are below, as listed on the BayImproviser calendar.
Of particular note is the big band that will play — and the fact that they namecheck Beanbenders, a venue and music series that contributed enormously to the local music scene in the late ’90s — and, on a personal note, a catalyst for me to start getting in touch with that scene. And Beanbenders did host the Sun Ra orchestra, back in 1996.
For a gathering of old friends to celebrate one of their great common influences, the Beanbenders name serves as a nice proxy.
Friendly Galaxies – An Evening of Celebrating Sun Ra at 100
— Set 1: Reconnaissance Fly (Amanda Chaudhary: keyboard/electronics; Rich Lesnik: reeds; Polly Moller: voice, flutes, guitar; Larry the O: drums, and Tim Walters: bass/electronics) perform a mixture of Sun Ra tunes & originals
— Set 2: Techno-griots Electropoetic Coffee (poet NSAA + guitarist Ross Hammond) continue and extend Sun Ra’s tradition of Afro-Futurist poetry+music madness
— Set 3: UBU RA BIG BAND, assembled by laptopist/pianist Joe Lasqo from the luminous gas remnants of the Beanbenders supernova & other far corners of the universe, travels through the sonic space of Sun Ra’s repertoire, with video by Warren Stringer.
Steve Adams – electronics
Aaron Bennett – saxes/reeds
Myles Boisen – guitar
Phillip Greenlief – saxes/reeds
John Hanes – percussion
Joe Lasqo – keyboards/electronics
Lisa Mezzacappa – bass
Dan Plonsey – saxes/reeds
Jon Raskin – saxes/reeds
David Slusser – saxes
Space songtresses: Barbara Golden & Kattt Atchley
Astro-Terspichorean dancers: Evangel King & Nan Busse
VIdeo artist: Warren Stringer
Cost: $10 non-members, $7 members
Center for New Music (55 Taylor St., San Francisco).
(Eric Vloeimans plays at Duende in Oakland, Monday Oct. 13.)
When I first started exploring creative music, an unexpected find was the European classical/ folk/jazz mix that I think is often called Eurojazz. That’s how I came to know it, anyway — that blending of jazz composition and improvisation with the towering structures and oddball harmonies of modern classical music, all played with a Parisian sidewalk-cafe vibe. Sometimes there would even be an accordion in the band, just for good measure.
Pago Libre comes to mind as an example. A couple of their CDs were on the doorstep at KZSU shortly after I arrived, as I recall. Pachora, a Balkan-jazz quartet including Jim Black and Chris Speed, was another early find and an obvious link in the Downtown NYC chain I’d traced after discovering Tim Berne’s Bloodcount.
Stacked in there somewhere is Eric Vloeimans, a Dutch trumpeter with a light touch and a wistful nostalgia in his playing. It’s likely I crossed his path because he was playing at Yoshi’s; I remember being charmed by his 2004 album Boom-Petit but lost the thread after that.
Vloeimans kept churning out music, though, and his latest band is a trio — with cello and, yes, accordion — playing cinematic sketches in Oliver’s Cinema. The name happens to be an anagram for Vloeimans’ name, but the “cinema” part fits the gently emotive music. Many of the tracks seem to come from still, thoughtful moments rather than high drama, and they’re very visual. “L’Amour des Moules” is a chatty stroll down a verdant park path; “Fellini’s Waltz” is a rich ballet of fantastical elegance.
It’s not far from what I remember of Vloeimans’ earlier work: lyrical, charming songs with a pretty touch, showcasing his crystal trumpet tone in a restrained setting. As with European cinema itself, there’s a lingering mix of happiness and sadness here. “Papillon” is a bittersweet slow song that’s so achingly French, and you can picture it representing fond memories or lost dreams, or both.
I’m not cinephile enough to recognize the classic soundtrack pieces on this album — “Papillon,” “Cinema Paradiso,” and “Rosemary’s Baby” among them. But the album still speaks to me with its depth of atmosphere; it’s subtle and hovering, rather than soaring and loud, and the understated nature sets the tone for what would be an equally understated — and therefore very nice — movie.