Flake in the City - Part 4
Craig Taborn's Stone Residency feat. Tomeka Reid, Mette Rasmussen and more in the final part of my New York City adventure!
Sup lovers?
Here’s the last installment from my epic New York City adventure!
In between running from meeting to meeting, I was up to my eyeballs in concerts. One concert I was particularly looking forward to was the Exo-Tech ensemble at Public Records run by vocal performer and fellow-former-Melbourne-girl Sophia Brous.
Thursday 9/12 – Exo-Tech, Public Records, Brooklyn
Sophia Brous (voice), Kimbra (musical director, voice, electronics), Zoh Amba (saxophone), Mike Haldeman (guitar, electronics, clarinet), Shahzad Ismaily (percussion, bass, banjo), Will Graefe (electric guitar), Jeremy Gustin (drums), Cole Kamen-Green (trumpet, electronics), Mauro Refosco (percussion), Lex Sadler (electric bass, moog bass), Kaoru Watanabe (shinobue flutes), Doug Weiselman (saxophone, bass clarinet), Kenny Wollesen (vibraphone, percussion), Nels Cline (electric guitar).
An enormous improvised jam session with a lineup of epic proportions.
Things kick off abruptly: flute, bass clarinet, and some Cyro-esque percussion plus Shahzad's soft banjo. The guy by the zither is creating waves with his hands, but also he has a mic and he is chanting occasionally along. Enormous bass rumbles from the Prophet synth shake the space as various musicians join the circle. There's a LOT going on. I think for the most part people are quite good at judging when too much is too much. It's certainly chaotic. I can appreciate the level of talent in the room but I can’t help feeling like the full potential of this super-group was not reached through this session.
It’s hard to single out musicians and comment on what works and what I enjoy because the jam keeps getting interrupted by the vocals. Kimbra’s sprites of excited vocal flourishes are easier for me than Sophia’s vocal work. I feel really bad for saying this but I have trouble with her spontaneous lyrics – “When I was a child…” “I see these moving shapes…” – I can appreciate how difficult it is to come up with something good and unclichéd on the spot, especially when it comes to lyrics, but I’m also not really feeling the Björk-esque timbre of Sophia’s voice. Don’t get me wrong – she is a good singer, it’s just not my cup of tea. In her defense, I guess the lyrics shouldn’t really matter when you are using your voice as an additional instrument.
Clearly, it just comes down to a matter of taste, as the whole room is boogying along and getting into the groove, along with her. She is also, obviously, having the time of her life, but then again, who wouldn’t be, when supported by and leading these elite musicians?
The primal, party vibe of Exo-Tech was a roaring success, with everyone involved in the jam seemingly enjoying the experience, as well as the crowd. For me, however, I felt that the dominance of the vocallists was distracting. At times I just wanted to listen to what the musicians were doing, and this was difficult with the chants and vocal gymnastics from the vocallists over the top. Maybe the Exo-Tech concept is more up your alley than mine? Maybe check it out and see for yourself :-)
There is no doubting the caliber and appeal of the musicians. The applause that followed was huge, but I couldn’t help wondering how things were going in another part of the same building, where Henry Fraser and friends were having a listening party to celebrate the release of his latest album. Unfortunately I missed out on that. But this is New York. It is impossible to fully enjoy one show without having to sacrifice another. (Both pressings of the limited edition cassette have sold out but you can still listen to them online or buy digital on Bandcamp here):
Thursday 9/12 – Secret Chiefs 3, Nublu, East Village
I won’t go into too much detail about the SC3 show here because I already did a pretty solid analysis of their new show via its debut at the Stone, but I will say that the Nublu venue has a wooden area BEHIND the stage which you ARE allowed to go sit on, or dance. Me and my buddy Graig were hanging out there with a perfect uninterrupted view of the band, wondering why everyone was packed into the crowd below when there was so much space up there, and the sound was great!
Beyond that, there was a glass balcony which allowed for a totally epic birds-eye-view of Ches’s kit. Here’s a video I took which he posted on his Instagram. It has over 500 likes and Brain Marsella commented “Hell yeah" so I feel somewhat validated.
Friday 9/13 – Craig Taborn Trio, The Stone, Greenwich Village
Craig Taborn (piano), Tomeka Reid (cello), Ches Smith (drums).
Tomeka has a golden drink bottle. It’s merch from the JazzFest in Saalfelden! I recognise this because I was just there a few weeks ago! It's funny how all these worlds interconnect with each other – I guess the jazz world is but a village.
Six unfortunate punters are waiting outside the door. It doesn't look good for them tonight. Earlier one guy became completely overwhelmed in the snake-shaped queue in the New School lobby. He exploded with rage, and stormed off saying, "I can't do it! I CAN'T!!" I’m only making the presumption that he is talking about waiting in the bizarre line, but nevertheless, it baffled me, because the venue was only just about to open and the line was going to move just fine… I guess this industry of jazz fanboying/fangirling is cut-throat and in New York, only the strong survive.
Craig announces his new trio album that was recorded in January, still to be mixed but it will be out on ECM Records. It's yet another contrast to all the other styles and genres I’ve seen this week.
For this trio project, Ches is incredibly limber and loose, seemingly dropping and fumbling around the sticks, but it's all intentional. As usual he is entertaining and animated. Tomeka also uses a couple pedals for subtle effect- maybe that's what gives her a dramatic edge. It’s always a treat watching her play.
Towards the end of the set, the quickness of the music felt reminiscent of Elias Stemeseder and Christian Lillinger’s “Antumbra” (reviewed by me earlier this year), and I wondered if recently collaborating with these two had rubbed off on Craig. I can really see why Elias calls Craig the "world's greatest living pianist." There are obvious similarities in the style in which both play, and a lot of stylistic crossover. Their hands move in similar ways, and they have a comparable energy. The set is a triumphant addition to Craig’s Stone residency, and there's still more to come!
Obviously I can’t link the album just yet as it has not been released, but for those curious to how it sounds, here is a their concert from Artacts, St. Johann in Tirol (Austria) from 2023.
Saturday 9/14 – A Treatise on Color, New Ear, (Fridman Gallery), Lower East Side
Shahzad Ismaily, (bass, solo).
Fashionably late but seemingly calm as ever, Shahzad begins his relaxed, minimalist bass solo performance to a small group of guests. Sunglasses on, and in front of a giant painting depicting a striking circular collection of blue, yellow, pink, and purple dots, Shahzad explores a relationship of dynamics. The day before, Shahzad told me that playing an instrument is a prayer for music to happen. In this space and through the use of calm, repetitive strokes, Shahzad invites gentle music to come down into this space.
I'm no synesthete, but for me, if I had to choose a colour that these warm tones evoke, I would say a shimmering bronze, or sand; something earthy in which one can put down roots. A deep, rich soil with minerals, but also a skin tone.
The tiny audience is mesmerized and sometimes the outside beeping car horns and the whistle of police on crossing duty pause ever so briefly to allow us the luxury of a moment of almost pure peace. But this is an art gallery in downtown New York. I think this concert series would benefit from having a large black heavy curtain to drown out the noise pollution from outside, just there in the hallway.
Although I think this is quite a fitting metaphor for Shahzad's life… He is aiming for peace, and to create beautiful, deep music in a non-aggressive way. Shahzad tries to be generous and kind with his time and resources, and in his own unique style, with relentless praise and positivity… but sirens and alarms and noise and interruptions are omnipresent and simply a fact of life. A wise woman once told me that being overwhelmed is a choice. I wonder what Shahzad thinks about this? But before long, he stands and silently approaches the juke box, pressing its buttons and letting it buzz away. A brief but gloriously typical moment of absurdity- the type of which he has become quite well known for. I have to fight the urge to laugh, because it is so funny.
Right at the end, Shahzad is accompanied by an entire horn orchestra from the road outside. Thank goodness it passes, and we can enjoy the final rumbling vibrations of Shahzad's earthly roots.
After the applause, he gives a small talk about how he wanted this experience to seem like: "Coming out of your shell." He describes himself as a "turtle - peeking out the tiniest bit." I was floored by what an appropriate analogy this was, not only for this concert but also for him as a person. But with Shahzad it’s both extremes: he is either hidden away in his shell or he is the total opposite. Today he performed behind sunglasses inside, whereas I have also heard reports that he has been known to perform entire shows without any clothing.
On the drive to the next show, Shahzad asks me what I thought of the show. I read him the review you just finished reading. He was overjoyed.
Saturday 9/14 – Weird of Mouth, The Stone, Greenwich Village
Craig Taborn (piano), Ches Smith (drums), Mette Rasmussen (saxophone).
New record out on Otherly Love Records.
From the third row, I have a very good view of Craig's Steinway, in particular his right hand. All three musos come out guns blazing, eyes closed, and playing with great force. Mette is on fire. She is such an energetic performer. Wowza! There are massive amounts of high wailed sax screeching over Craig's dramatic smashing, dark, loud, ominous tones, and topped with Ches's cymbal-heavy additions. Mette shakes a chain of bells rapidly, giving herself a moment to breathe while Craig provides a suggestive melody, and tweaks the strings inside the piano for subtle effect. Occasionally a mesmerized Ches will open his eyes and look over to Craig, but the majority of this performance is felt, not seen. When he initiates a super fast swing he looks literally asleep; his flailing limbs with minds of their own. The music is anything but sleepy. It’s rapid, exciting, thrilling… that Craig's fingers aren't sliced up to pieces is a wonder- the way he trills them frantically along the keys – it’s like rubbing a carrot on a cheese grater at breakneck speed! Ouch!!
Piece number 2 is far more sparse. Mette has removed her mouthpiece and is making breathy weird sounds into the sky. "Hey man, toooo much talking!" she announces- yes, it's all part of the act. Mette's solo intro is a primal and anthemic loop, accentuated with different subtle variations of articulation- she is such a confident musician- her power on the sax is so unexpected coming from someone with such a small frame. I'm so impressed by her. Watching and listening to her variations on a theme is so moving. People in the crowd are moving their bodies along with her, unknowingly mimicking her nods and twists with Ches and Craig supporting her epic crescendo, it's a climax of biblical proportions. Chilling, sensitive, wild, euphoric in its own strange way. And it's loud- Ches's cymbals are piercing along with the final squawks. I do believe I may have just developed tinnitus just now but hey, at least I'll have a cool story to tell my niece and nephew
That night we also went and saw Secret Chiefs 3 again… one last time at Union Pool. There was one dodgy amp but the crowd was lit, and the band were, of course, amazing. Here’s a photo of Matt Hollenberg, shreddin’ it.
MORE MISCELANEOUS NEWS:
I just wanted to give a big shout out to all the Zorn-Orbit Grammy nominees – say what you will about the Grammys, it’s still kind of a big deal to be nominated, even if the whole idea about music being a competition is straight up absurd. I’ll be keeping my eyes on the following nominees:
– Julian Lage - Best Contemporary Instrumental Album (Speak to Me)
– Bill Frisell - Best Contemporary Instrumental Album (Orchestras [Live])
– JACK Quartet - Best Chamber Music/Small Ensemble Performance ("Adams, J.L.: Waves & Particles")
– Arooj Aftab - Best Alternative Jazz Album (Night Reign) & Best Global Music Performance ("Raat Ki Rani")
BLACK FRIDAY + CYBER MONDAY @ Fladik.net – Get 20% off your total order!
Black Friday code: BLACKCOBRA
Cyber Monday code: CYBERTISTA
- Days of Zorn 1 + 2
- Zappa Every Day
- The Jazz Hater’s Manifesto
- Jazz is for Wankers
- Totes, kandi bracelets… the whole store!
These codes are only valid on Black Friday (November 29)
and Cyber Monday (December 12) … so get in quick!
Alrighty lovers that is it from me and my American adventure. Hope you’ve enjoyed the ride as much as I did. Stay tuned for more Fladik News in the coming weeks and don’t forget, if you love what you read you can always support me by switching to paid subscription. You’ll receive a hilarious car bumper sticker from me if you do.
Take care, and see you next time!
XO Love,
Flake
CEO Fladik