Posts tagged ‘singlespeed’

Singing Pynchon’s Song

Kyle Bruckmann’s Wrack… Awaits Silent Tristero’s Empire (Singlespeed, 2014)

Kyle Bruckmann's Wrack: "...Awaits Silent Tristero's Empire"Boisterous and raunchy, with generous doses of off-the-rails confusion, A.S.T.E. is Kyle Bruckmann‘s tribute to Thomas Pynchon’s first three novels. I haven’t read the novels — except for the first third of V, and the music seems to capture the spirit of the book well: It’s fun and appropriately chaotic, mostly bouncing off the walls but revealing some deep thought, too.

And hey — the album has gotten noticed by Magnet Magazine, where Bill Meyer, who’s written about jazz for a variety of publications for years, picked it as the No. 1 jazz/improv album of the year. Kudos!

I got to see the hour-long suite, which includes movements devoted to The Crying of Lot 49, and Gravity’s Rainbow, performed live last year at the Outsound New Music Summit, so I knew what I was in for.

The instrumental pieces, performed by a septet version of Wrack, Bruckmann’s longstanding Chicago-based group, are partly built around the imaginary songs that permeate Pynchon’s books. Bruckmann takes the lyrics and applies Great American Songbook-style melodies; it’s up to you to figure out which tunes go with which words.

This results in exuberant, singalong themes with touches of nuttiness, a damn-the-torpedos sound. Most episodes branch off into exciting solos or dissolve into stretches of improvising; there’s plenty of out-jazz goodness to be had in here.

I can’t speak to how well the pieces represent the novels, aside from V, represented by an appropriately alcohol-soaked swagger in Part One of Bruckmann’s suite — especially in the final theme, where Bruckmann’s oboe goes impossibly high and intentionally off-key.

“Part Two,” representing The Crying of Lot 49, presents a more sleek and sober approach. An early theme is just as catchy and jazzy as anything in “Part One,” but played with clean violin-and-oboe lines. It does give way to some jazz abandon later, with a buzzy sax solo over a driven, exciting rhythm.

All I know about Gravity’s Rainbow is that it sounds intimidating, but “Part Three” has its share of upbeat, showtune-style melodies as well.

Note that if it’s Wrack that’s doing the “awaiting” in the album title, then W.A.S.T.E. becomes a full acronym, just like in Pynchon’s book. And the album cover art is drawn in such a way that Wrack itself looks like an acronym too, so that you would have an acronym within an acronym. I don’t know if these things mean anything or even if they’re really there. As Bruckmann writes:

But that’s exactly Pynchon’s game: daring you to succumb to paranoid systems. There’s a dimension of reading his work that’s like firing a blunderbuss into a barrel of red herrings. No matter what your field is – rocket science, colonial history, organic chemistry, hermetica and the occult – he somehow knows just enough of your specialist knowledge to ensnare you in webs of ‘Kute Korrespondences.’

Physical and virtual copies of Awaits Tristero’s Silent Empire can be had at Bandcamp.

December 22, 2014 at 12:29 pm 2 comments

Cory Wright: Apples + Oranges

Cory Wright plays Sat., Feb. 1, 2014 at Duende (Oakland), a double CD-release-party with Aram Shelton’s Ton Trio II.

Cory Wright OutfitApples + Oranges (Singlespeed, 2013)

Cory Wright - Apples + Oranges. Click to go to Singlespeed Music.Playful twists on conventional jazz pepper Apples + Oranges, the new album from Bay Area sax/clarinet player Cory Wright and his quintet of locals.

It’s a free-jazz album at heart, with lots of room for improvisation and plenty of unconventional structure in the songs. But it all stems from a sunny disposition that colors the modern bebop composing, producing a great session overall.

“Freddie Awaits the Sleepers” bursts forth to start the album with tangly horns and bright, jumping bass from Lisa Mezzacappa. Jordan Glenn propels the song from the drum kit, continually percolating behind the solos, which use different tactics to weave their way into the songs. After a solid trombone solo by Rob Ewing, Wright’s tenor sax puts up easy runs of notes contrasted against the driving rhythm. Evan Francis’ alto then plays off the fury of Glenn’s drums by working in high, whining registers, a different type of ear-pleasing contrast. (I think I’ve got the order of the solos right.)

“Whaticism” is a perky and upright bit of swinging whimsy, opening with a jaunty sound. The horns act as the chord instrument, backing up each solo with little written-out phrases or, in the case of the bass solo, a repeated joint squeal.

“Low Impact Critter” takes a less jazzy approach, with each instrument pecking sparsely in rapid-fire tradeoffs to create the skeleton of a swing. Later, it’s got flute, clarinet, and trombone mixing it up for a drumless improvisation that’s a lot of fun. “The Sea and Space” is slow but bright, Wright’s clarinet proudly fluttering over a minor-key composition with a catchy bass rhythm and calm lines from the horns. It ends with a hard-driven groove backing Ewing’s trombone solo.

Everything wraps up with “St. Bruno’s Purview,” a showy tune with hints of old-timey melody. It features some throaty, burbly clarinet moments — a complement to two other “St. Bruno’s”-titled tracks that serve as short interludes.

The most drastic mood shift comes with the 11-minute “Eyedrop,” an exercise in sparse improvisation. Its opening themes are small modern-classical scribbles, spaced apart by quiet, crawling improv segments, one of which eventually takes over to form a slowly jazz-oriented improvising over small, composed outlines. It’s gutsy to take up so much of the album with an experimental piece, but it’s also a way to show off another side of the high-caliber band assembled here. Mezzacappa’s bass solo, over slowly cascading horn notes, is a nice lead-in to the song’s final theme. “Eyedrop” might seem like a speed bump to some listeners who tune in more easily to the overly jazzy tracks, like an orange among the apples, but I’m happy to take them all in together.

December 26, 2013 at 9:32 pm Leave a comment


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