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Winter Jazzfest Brooklyn Half-Marathon

 

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Keyon Harrold

 by Dan Lehner

It’s hard to believe, 16 years in and with improvised music culture consistently moving out of Manhattan, that this was Winter Jazzfest’s first foray into Brooklyn, but the Williamsburg/Bushwick terrain felt instantly home and welcoming for a shorter, less expansive, but no less engaging “half-marathon” of performances. The Bushwick venues required a train ride, but the Williamsburg venues were refreshingly close to each other and spacious, making the process accessible and relaxed. 

Though he might be a thoroughly cliche examples of a jazz musician, there aren’t actually a lot of trumpet players who genuinely seem to channel the spirit of Miles Davis, but Keyon Harrold is a notable exception. Harrold’s set at Rough Trade bore some of the hallmarks of the Prince of Darkness - sly and pointed upward climbs, heated and ringing single notes, a sort of devotional energy and rock n’ roll bravado - but with a wide and twisty harmonic palette and 21st century technological attitudes. Harrold even cribbed a little bit of Davis’s wry pop-melodicism, peppering originals with quotes from old classics like “My Favorite Things” and newer classics like OutKast’s “Spottieottiedopalicious”. Not to be boxed in the past though, Harrold ended his set with a blistering rendition of Childish Gambino’s 2018 song “This is America”, translating the unmelodicized trap chorus into a punchy, searing statement.

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Winter Jazzfest Marathon 2020 - Friday Recap

 

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Charles Altura, left; Jure Pukl, right

by Dan Lehner 

An unseasonable warm spell may have made for an odd environment for Winter Jazzfest this year, but encouraging people to not merely park themselves in one space always yields the best results. The landscape of WJF this year was sprawling but manageable (the festival no longer utilized the New School auditoriums but a series of relatively convenient galleries and performance spaces in NoHo and the villages) and there was plenty of reason to go wandering.

Jure Pukl kicked off an early set at The Dance (a new addition to the map) with a stimulating quintet set. Pukl’s music had a maximalist, go-for-broke inventive quality built around easy-to-latch-onto ideas, anchoring the ambition of its performers with a catchy ideas, preventing it from losing focus. A robust tenor player, Pukl made long ropes of dense harmonies through the range of his horn, but was also adroit at a melodic gentleness. The same can be said of his bandmates: vibraphonist Joel Ross did a tremendous job of coalescing exciting melodic ideas out of the knotty logic of Pukl’s music and guitarist Charles Altura nestled his wide swath of intervallic ideas within the scope of prettiness and taste.

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Category Is: Sonic Synesthesia at Baby’s Alright

by Kat Pongrace
IMG_4915In what seems to be the vanguard color of Gen-Z, a woman with electric green hair bounded onstage at Baby’s All Right last week (October 30) to open Category is: Sonic Synesthesia. The event was my first encounter with Pink Boot, an independent media outlet dedicated to celebrating women and femmes of color, and the line up for Sonic Synesthesia in no way came up short.

Brooklyn R&B songstress Alex Mali warmed up the crowd with songs from her recent EP Sweet + Sour, including her new track “Fighting Words.” Her intimate performance eschewed Baby's normally bejeweled backdrop in favor of a projection of the moon and clouds emblazoned with her name and her silhouette. For an opening act, she seemed to be highly anticipated, and from what I heard had been the primary attraction for many in the crowd attending. 

Following Mali, Los Angeles-based Mila J brought her signature girl group appeal with a side of some serious Scorpio energy. Mila, a former dancer and girl group singer (including an appearance in Prince's "Diamonds and Pearls"), exhibited a number of well-choreographed routines that avoided feeling overproduced. After recording a pair of EPs with Motown and recording with such artists as Jodeci and Timbaland, Mila is currently working on her debut studio album.

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Lez Zeppelin at the Metropolitan Museum of Art

by Steven Pisano

20190913-DSC08329(All photos by Steven Pisano.)

Consider, if you will, the following partial description of an object in an exhibition at the Metropolitan Museum of Art, which ended this past weekend:

Archtop with F-holes and Venetian cutaway; laminated maple body and neck, rosewood fingerboard; 23½ in. scale; natural finish with white & black double binding, set neck with mother-of-pearl split parallelogram inlays and white binding to fingerboard; mother-of-pearl Gibson headstock logo with crown inlay; two PAF humbucking pickups,...

Sounds pretty fancy, doesn't it? Maybe a rare piece of furniture from a Renaissance craftsman, or a priceless treasure from a European estate?

Hell no! This is how the catalog begins the description of the Gibson ES-350T (ca. 1958) that Chuck Berry strutted on stage with in the late 1950s and early 1960s, playing hits like "Johnny B. Goode."

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