All About Jazz

Home » Articles » CD/LP/Track Review

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

270

Darcy James Argue's Secret Society: Infernal Machines

Karl Ackermann By

Sign in to view read count
A little more than a decade ago, Maria Schneider served notice that big band jazz was no longer the domain of our grandparents. She has gone on to own the genre and now, Brooklyn resident and star Schneider pupil, Darcy James Argue's Secret Society takes it to an exceptional place with his debut, Infernal Machines. What is exceptional is how true to the pure nature of jazz this collection is; full of innovation, creativity, and bold, daring departures from the commonplace.

Free improvisation, or its more conscious counterpart, is difficult even in a small setting. Argue's eighteen piece ensemble manages to pull off a menagerie of styles that range from dissonant to lyrical to a wilder Loose Tubes type of progressive swing. It never falters and it is never anything less than an intriguing trip. The remarkable thing here is not that Secret Society is so adept at each distinctive form (18 good musicians can pull that off); it is that Argue, as a world class composer and arranger, uses them so cohesively and to the stimulating affect that he does.

"Obsidian Flow" begins as a leisurely paced tune seemingly built for a rhythm section more than an orchestra. Argue's cinematic touch lets the piece build, telling a story as it unfolds into a full blown collective work for the larger group. Similarly, "Habeas Corpus," on paper, could sound like a straightforward Point A to Point B transition but the sound is both complex and nuanced at the same time, and it demands repeated listening. In this piece, Argue incorporates a classical crescendo and then an almost rock style electric guitar all in the midst of a solid jazz foundation. If it sounds like too much, it isn't. The magic in Argue's method is that each influence blends seamlessly into the next without disrupting the context of the piece.

The faultless flow and blending of styles is present on every track of Infernal Machines. "Jacobin Club" flirts with a Middle Eastern subtext if only for a moment. "Redeye" floats along on gentle, if slightly hallucinogenic electric guitar riffs, not bringing in the orchestra until late. Throughout the collection there are brief and brilliant passages that can make you wonder if you heard what you suspect you did. This is an endlessly interesting collection and creates anticipation for a sophomore effort from Argue.


Track Listing: Phobos; Zeno; Transit; Redeye; Jacobin Club; Habeas Corpus (for Maher Arar); Obsidian Flow.

Personnel: Darcy James Argue: composer, conductor, ringleader; Erica von Kleist: flute, alto flute, soprano and alto saxophones; Rob Wilkerson: flute, clarinet, soprano and alto saxophones; Sam Sadigursky: clarinet, soprano and tenor saxophones; Mark Small: clarinet, bass clarinet, tenor saxophone; Josh Sinton: clarinet, bass clarinet, baritone saxophone; Seneca Black: lead trumpet; Ingrid Jensen: trumpet; Laurie Frink: trumpet; Nadje Noordhuis: trumpet; Tom Goehring: trumpet; Ryan Keberle: trombone; Mike Fahie: trombone; James Hirschfeld: trombone; Jennifer Wharton: bass trombone; Sebastian Noelle: acoustic and electric guitars; Mike Holober: piano, electric piano; Matt Clohesy: contrabass, electric bass; Jon Wikan: drum set, cajon, pandeiro, miscellaneous percussion.

Title: Infernal Machines | Year Released: 2010 | Record Label: New Amsterdam Records

Tags

comments powered by Disqus

Zeno

Zeno

Darcy James Argue
Infernal Machines

Live Reviews
CD/LP/Track Review
General Articles
CD/LP/Track Review
Megaphone
Read more articles
Real Enemies

Real Enemies

New Amsterdam Records
2016

buy
Brooklyn Babylon

Brooklyn Babylon

New Amsterdam Records
2014

buy
Brooklyn Babylon

Brooklyn Babylon

New Amsterdam Records
2013

buy
Infernal Machines

Infernal Machines

New Amsterdam Records
2010

buy
Infernal Machines

Infernal Machines

New Amsterdam Records
2009

buy

Related Articles

Read Paul Heller Meets Roman Schwaller CD/LP/Track Review
Paul Heller Meets Roman Schwaller
by Jack Bowers
Published: September 18, 2018
Read Change In The Air CD/LP/Track Review
Change In The Air
by Dan McClenaghan
Published: September 18, 2018
Read Vera CD/LP/Track Review
Vera
by Dan Bilawsky
Published: September 18, 2018
Read In Motion CD/LP/Track Review
In Motion
by Roger Farbey
Published: September 18, 2018
Read Marshian Time Slip CD/LP/Track Review
Marshian Time Slip
by Bruce Lindsay
Published: September 18, 2018
Read Four On The Road CD/LP/Track Review
Four On The Road
by Dan Bilawsky
Published: September 17, 2018
Read "Tschuss Jazz Era" CD/LP/Track Review Tschuss Jazz Era
by Chris Mosey
Published: July 5, 2018
Read "Transatlantic" CD/LP/Track Review Transatlantic
by Paul Rauch
Published: June 16, 2018
Read "A Blast From The Past" CD/LP/Track Review A Blast From The Past
by Roger Farbey
Published: May 23, 2018
Read "Arvo Pärt: The Symphonies" CD/LP/Track Review Arvo Pärt: The Symphonies
by C. Michael Bailey
Published: March 31, 2018
Read "Wherever You're Starting From" CD/LP/Track Review Wherever You're Starting From
by Dan Bilawsky
Published: March 8, 2018
Read "The Lead Belly Project" CD/LP/Track Review The Lead Belly Project
by Dan McClenaghan
Published: December 19, 2017