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"What is the heaviest thing, ye heroes?" Ten substantial original tracks from The Jazz Protagonists answer Nietzche's question with panache. This new CD celebrates the strength of a young American jazz trio by applauding their invention, energy and playfulness. And, man, it swings. With this album, recorded over three days in 2002 (why did this disc take so long to surface?), pianist Barry Brake (in the interest of full disclosure, Mr. Brake is an editor at Communiqué), drummer Darren Kuper, and bassist Greg Norris seize a satisfying moment in time without the usual studio crutches of multi-tracking and overdubs. These songs were captured live. This means a few minor flaws show up, but it simply reminds us of the verity of the session. The brilliance of Blizz Blazz lies in the interchange of solos. In the space of a few bars these three communicate volumes with each other and to the listener. One thing is clear — there's a lot of listening going on in the first place. They trade and flip themes around like the Flying Karamazov Brothers, yet after a few breathless airborne moments, the melodies return unscathed. Standouts include the bluesy "Expelliarmus," mysterious "Lunitude," the toe-tapping "Shower Song," and a haunting piece of creative dissonance called "Sanhedrin." That last piece and one other on the disc ("50-50") were composed by the drummer. The phrase "composed by the drummer" is underused in modern music, so it is highlighted here for you. "Porta" is a clever piece that sets Brake's creativity on top of a sexy bossa beat. Here, Norris and Brake skillfully play demanding unison phrases that punctuate with heroic flair. The rollicking "Tip Jar" quotes from Oscar Pettiford's "Blues in the Closet" (and thus from the Violent Femmes' "Blister in the Sun"), flies at a hundred miles an hour, and throws in some Ellington-styled doo-wap syncopations — and features a brisk minute-long drum solo by Kuper that'll make you reach to turn your stereo up a notch. "Sanhedrin" and "Expelliarmus" provide a perfect denouement — the listener is dropped off gently after an hour-long ride. Highly recommended, though available only online. The band's website is one place to pick it up. prs . . . . . . .
Belle & Sebastian, High-velocity winds tore down alleys and around corners, but the weather within the packed Orpheum Theatre was positively spring. Nearing the end of the U.S. leg of their autumn tour in support of their new release, Dear Catastrophe Waitress, Scottish ensemble Belle & Sebastian enraptured an eager crowd. Standing on a darkened stage, Stuart Murdoch and Stevie Jackson opened the evening with a spare yet stirring version of Billy Bragg's "A New England." The band then launched into a fully realized "Expectations." In addition to the core members (who rotated instruments, including trumpet, French horn, flute, and pennywhistle), a string section rounded out the cast — throughout the night there were anywhere from seven to twelve musicians onstage. Their rollicking, dazzlingly-lit set was pure, uncontainable joy — 24 songs, old and new (nine off Waitress). Ushers were shooing dancing attendees into the aisles. We laughed, we cried, we cheered. From "Step Into My Office, Baby," they headed straight for "Wrapped Up In Books," "Women's Realm" (with audience hand-claps and Sarah Martin coming into her own), "I'm Waking Up to Us," "She's Losing It," and "You're Just a Baby." Amid subsequent numbers, they engaged in playful banter with the audience. At one point, someone called out the song they were about to play, and Stuart stopped dead: "You're a frickin' mind-reader!" Stevie chimed, "Either that, or you've been sleeping with our production manager!" Then Stuart told of a time they'd played in Japan and had to provide set lists for everyone at the door. To reclaim a bit of spontaneity during the show, the cheeky Glaswegians hit golf balls into the crowd. "That surprised them!" Other highlights included spirited renditions of Vince Guaraldi's "Linus and Lucy" (with much Peanuts-inspired dancing), "Scooby Driver," "The Stars of Track and Field," and "I'm a Cuckoo." "Piazza, New York Catcher" provided a moving interlude, which they followed with "The State I Am In" ("So I gave myself to God / There was a pregnant pause before he said ok"), "If You Find Yourself Caught In Love," "Roy Walker," and "Stay Loose." Closing with the wistfully determined "Sleep the Clock Around," all elements of the evening seemed to converge into a point of unbearable loveliness. But we couldn't let them end there. The encore consisted of "The Boy With the Arab Strap," and "Judy and the Dream of Horses" — the latter a rousing sing-along. The sheer gladness of it all was a forceful reminder of how much more there is to this life, effectively transcending any troubles of the chilly day. Utterly delightful.
amc Reviewers:
Paul Soupiset and Ana Maria Correa |
©2003 Communiqué: An Online Literary & Arts Journal.
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