“ Hearing Rosenwinkel is like navigating through a thick fog in a small boat, never knowing what lies ahead until it ”
The week opened with a Tiny Bell Trio/Four In One double bill. Guitarist Brad Shepik and drummer Jim Black joined Douglas for a riotous set that went back to “Red Emma” from the group’s 1994 debut album. Black was astonishing, blending precision and garage-like power in an anything-can-happen blur. Then Misha Mengelberg and Han Bennink, who had led their ICP Orchestra at Tonic just the night before, joined Douglas and bassist Brad Jones for a set consisting mainly of Monk tunes. Bennink, as always, was an experience. While trading fours during “Epistrophy” he plainly announced, “I would like to go out of rhythm now.” Jones made a bemused, “be-my-guest” gesture, and Bennink went off on a tear with nothing but a snare drum and brushes. (The ICP show also focused on Monk; Bennink, with drumstick-in-cheek, dominated that evening too.)
Douglas’s “Charms of the Night Sky” opened Thursday’s second set with marvelous, haunting readings of “A Thousand Evenings” and Herbie Hancock’s “Little One.” After these and a few other numbers, Douglas, violinist Mark Feldman, accordionist Evan Harlan (subbing for Guy Klucevsek), and bassist Greg Cohen were joined by tenorist/clarinetist Greg Tardy and drummer Susie Ibarra for selections from the El Trilogy record. These pieces, commissioned for performances by the Trisha Brown Dance Company, ranged widely — from swing to free to cinematic, Frisell-like road music.
Bobby Hutcherson Quartet with James Spaulding — A hot, standards-focused evening at Iridium with Renee Rosnes, Wallace Roney, Dwayne Burno, Carl Allen, and the two Blue Note stablemates of yore. Hutcherson and Spaulding are as crisp and compelling as ever. Highlights included “Old Devil Moon,” “Little B’s Poem,” “Polka Dots and Moonbeams,” and “Take the Coltrane.”
Louis Sclavis — The French clarinetist and composer rarely performs in the States. But March saw the U.S. premiere of his score to the 1930 silent film Dans La Nuit, as well as a quintet performance at Tonic the following night. Both gigs featured Sclavis with violinist Dominique Pifarély, cellist Vincent Courtois, percussionist François Merville, and accordionist Jean-Louis Matinier. (At Tonic the quintet performed music from Sclavis’ 2001 ECM release L'affrontement des prétendants.) The film, screened at Gould Hall in the French Institute Alliance Française, is a story of newlywed bliss shattered by a disfiguring mining accident. Sclavis’s chamber group, expertly miked and mixed, enhanced the portentous themes and climactic moments and presented a feast of textures. The dense, unaccompanied improvisations by Pifarély and Matinier, and the sly marimba figures from Merville, almost made it hard to focus on the film at times.
Frank Kimbrough Trio and Quintet — Heard during the third annual Jazz Composers Collective festival, another week-long event in March at the Jazz Standard. With Ben Allison and Matt Wilson, Kimbrough roamed through his distinctive rubato moods and edgy swing-funk creations like “Lulla-blue-by” (“sounding less and less like a lullaby every time,” noted the pianist). The quintet, featuring Allison, drummer Michael Sarin, Dave Ballou on trumpet and fluegel, and Scott Robinson on reeds, explored some of the music from Kimbrough’s Noumena project on Soul Note, including “Air” and “The Spins.” A slow, Giuffre-dedicated blues, “For Jimmy G” (with shadings of “Blue Monk”), closed the set. Robinson, gloriously pained and dissonant on tenor, managed to incorporate both the smallest and largest horns — the octavon (?) and the bass sax — in a single set.
Matt Wilson Quartet — The press advance for his new Palmetto release, Humidity, included a branded Matt Wilson ice scraper. (A targeted mailing to New Yorkers digging out from the rough winter?) There was no shortage of this sort of Wilsonian hilarity during the drummer’s three-night Jazz Standard run. Together with Andrew D’Angelo on alto and bass clarinet, Jeff Lederer on tenor and clarinet, and Yosuke Inoue on acoustic and electric bass, Wilson displayed highly refined musicianship even as he broke every rule in the book.