This multitasking quartet offers a sense of newness to the jazz realm by crossing borders and taking an aggressive, raucous and well-rehearsed stance. In theory, the band should capture the attention of the young and thoroughly hip, along with the adventurous music aficionados who yearn for a sense of musical excitement.
Gutbucket rocks the house as it aligns avant-garde metrics with snazzy jazz, and jazz-rock, while also integrating hardcore rock with an in-your-face mode of attack. Ty Citerman's loud crunch chords, atop a slow-paced rock beat on "Head Goes Thud," pave the way for a series of quirky, odd-metered deviations as the quartet switches gears on a nanosecond's notice. Think of Pink Floyd teaming with Frank Zappa.
Multi-reedman Ken Thomson helps generate the rip-roaring jazz frameworks with intense performances, spanning howling notes and fluid jazz improvisation. The artists offer a cinematic excursion for the mind's eye, but it's not about reckless abandon. This is one heck of a tight-knit unit. And the respective musicians possess broad music vernaculars, including a few prog-rock type riffs tossed into various movements, complete with knotty twists and turns. They even delve into the Klezmer format during "Lucy Ferment," which is a piece consisting of dizzying unison lines and outlandish deviations from the tried and true.
The plot thickens on "Side Effects May Include," where Thomson's edgy and bluesy sax parts drive home a swaggering blues motif, counterbalanced by Citerman's distortion-laced chords, segueing to the rhythm section's pounding pulse. Ultimately, each musician serves as a vital cog in the wheel but, more importantly, Gutbucket carves out a nouveau approach, maintaining a distinct stylistic gait in its rather persuasive fashion, equating to thrills a minute.
Track Listing: Head Goes Thud; A Little Anarchy Never Hurt Anyone; I Am a Jelly
Doughnut (Or a Commentary on U.S German Relations Post WWII); More More
Bigger Better Faster with Cheese; Carnivore; Doppelganger's Requiem;
Lucy Ferment?; C'mon It's Just a Dollar; Side Effects May Include; Brain
Born Outside of Its Heard.
Personnel: Ty Citerman: guitars; Adam D. Gold: drums, vibraphone (5, 9), birds
(1); Eric Rockwin: electric upright bass (1-10), bass guitar (2, 5, 9),
Hammond B3 organ (6), Korg bx-3 (2), Wurlitzer (3, 8); Ken Thomson: alto
saxophone (1-5, 7-9), baritone saxophone (3, 6, 9-10), clarinet (6-7),
bass clarinet (4, 8), Hammond B3 organ (1), Roland juno-60 (10).
I was first exposed to jazz while working overseas in Africa as a Peace Corps Volunteer. I would listen to the Voice of America on the radio and they had a nightly jazz program on at 10:00pm. I learned a lot about jazz listening to this program. I also had a friend who listened to real jazz by artists like Charles Mingus, Eric Dolphy and Archie Shepp. On my way home from Africa I landed in New York and had the opportunity to see the George Adams/Don Pullen quartet at the Village Vanguard as well as Kenny Barron and Ron Carter at another club, and was in heaven.