Jazz Feed

Winter Jazzfest: Nicole Mitchell's Black Earth Ensemble at Le Poisson Rouge

DSC04326Winter Jazzfest 2018 Artist-in-Residence Nicole Mitchell has spent more than three decades on the vanguard of jazz as a composer and flutist, and has developed a unique voice that blends technical innovation with a spiritual outlook. Her latest project, Mandorla Awakening II: Emerging Worlds, is set in a not-too-distant future where a an egalitarian society struggles with how to incorporate technology into our lives. Speaking to The Wire last year, Mitchell says it comes down to how we learn to see ourselves in each other - something which has a good bit of relevance these days:

"How do we honor our wonderful diversity rather than be threatened by it? How do we learn to share our resources and care for all, rather than being selfish? That helped me to arrive at my narrative, which riffs off the question: how do we create an advanced society that is in tune with nature, and how do we actually move away from our addiction to greed, which compromises our love for each other?"

Mitchell blends music from disparate cultures in Mandorla: you can hear Japanese taiko, shakuhachi and shamisen, free jazz, rock, banjo, even the synth-driven sounds of Stockhausen. Mitchell gives each of them equal time, and it's a revelation how much these diverse musical sounds have in common. 

The climax of the work comes in the final part, "Timewrap", in which the extraordinary spoken word artist Avery R. Young channels his inner gospel preacher, screaming and shouting like a man possessed, joining hands with various audience members and promising to take them "to the other side." It was the most ecstatic, thrilling, and inspiring musical moment of this early 2018, and hopefully a harbinger of things to come. 

The prolific musician-scholar Tyshawn Sorey opened, eschewing his usual drumkit for a synth-driven set that was about as avant and modern as anything I've heard in a jazz mien. Not that he or anyone needs to adhere to any standard definition when it comes to playing "jazz."

More pics on the photo page

Winter Jazzfest: Saturday Night Marathon

 By Dan Lehner and Pete Matthews

Winter Jazzfest 2018 New School
Night two of the 2018 Winter Jazzfest Marathon began in the intimate fifth floor theater at The New School, where a crack team of trombonists were paying homage to the uniquely blithe and expressive spirit of Roswell Rudd. Art Baron honored Rudd's famously potent physical presence by "sanctifying" the room, facing each of the four walls and blessing them with little music segments, before launching into a sweet, genuine, plunger-and-pixie mute rendition of Ellington's "I Got it Bad". Brian Drye honored Rudd with his original "For Roswell", a gentle, folkish tune embellished with multiphonics and little mouth pops and swishes, ending with "Pannonica" (a nod to the Roswell Rudd/Steve Lacy recordings of Monk tunes). Josh Roseman's performance recalled some of his playing on his own "Treats for the Nightwalker", imbued with dubby wah's and hisses through a Harmon mute, and seemed to relate closely to Rudd's later work in the realm of world music.

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Winter Jazzfest 2018: Friday Night Marathon

By Dan Lehner and Pete Matthews

New York is nothing if not a land of contrasts, so it was jarring if not totally surprising to slog through a warmer-than-usual rain storm on Friday’s Winter Jazzfest Marathon having just experienced a colder-than-usual near-sub-zero snowstorm only a week prior. However, New York is also full of tough natives and intrepid tourists, so no crowd was too deterred to pack and hop between the 11 venues (on the third of a record eight-day-long WJF) to see new configurations, old favorites and adventurous mixtures of the two on the first marathon night.    

Over at Zinc Bar, alto saxophonist Caleb Curtis was both riding and twisting a robust swing in trumpeter Josh Lawrence’s Color Theory, punctuating flowing melodic lines with wild zig-zags in unexpected directions at unexpected times. Propelled by drummer Anwar Marshall, bassist Luques Curtis and a rare Fender Rhodes/piano team of Zaccai Curtis and Orrin Evans, Lawrence’s beautiful and ambidextrous writing would alternate between gentle tippin’ and Blakeyesque group runs that would cluster around close harmony (sometimes on the same tune). One piece would have Lawrence and Curtis gently flicking specks of color on an orchestral canvas, then a faster one would show off Lawrence’s deftness as he carefully constructed, expanded and contracted melodic cells, all while never losing his mature, relaxed trumpet sound.

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Mark Guiliana Jazz Quartet at the Jazz Standard

by Nick Stubblefield

IMG_0188On Tuesday, drummer and composer Mark Guiliana and his Jazz Quartet treated audiences at the Jazz Standard to the group’s first at-home show since their latest release, Jersey. Guiliana, a New Jersey native, kept the Jersey theme at the forefront for the night: he donned a New Jersey t-shirt and asked which audience members hailed from the Garden State. (Only one raised their hand.)

From the start, the group established their bent for longer-formed song structure, fearless experimentation, and a strong sense of fun.“inter-are” kicked things off with a high-octane energy bordering on the clamorous before cooling into stripped down, atmospheric territory - like the flames on a stovetop turned down for serious cooking. Guiliana laid down an adrenaline-fueled, hard-hitting tribal groove. Pianist Fabian Almazan muted the strings inside the piano to create funky, clavinet-like timbres before tearing into a raucous solo. And Jason Rigby showcased fluid runs and riffs on the tenor saxophone with inspired sensitivity. 

The album's title track ("Jersey") started with a low, ominous marching ostinato. The energy built gradually over several minutes, with most of the complexities in rhythm and texture coming from Guiliana’s dexterous and dynamic drumming.

“Our Lady” was the most light-hearted composition on the program. It rode on a steady Latin-infused groove that managed not to pigeonhole itself into any particular Latin sub-genre. Time signatures changed unexpectedly, chord progressions were familiar but unpredictable. Rigby’s saxophone lines gave the session's listeners the closest they would get to a singable melody, and his playing gave the tune its buoyancy. 

“BP” offered another long and gradual build, this time driven by an understated, yet insistent and sophisticated drum pattern. On “September,” Guiliana bowed out completely, while bassist Chris Morrissey brought out his bow and played a low drone, Alzaman pedaled a low tremolo, and Rigby's yearning melody soared over the top.

The evening closed out with David Bowie’s “Where Are We Now?”, a nod to Guiliana's history of playing with Bowie. The group's soulful arrangement left the audience with a tough question to think about as the evening came to an end.

Overall, Guiliana's set was dynamic, introspective, and thrilling. He did his home state proud.