Fresh from the Skirl records launch, guitarist Hilmar Jensson brought Tyft to Brooklyn's Tea Lounge for two spirited sets (Apr. 12th). The intertwined history of the trio - including saxophonist Andrew D'Angelo and drummer Jim Black - has instilled the familiarity and confidence essential for the music's success. Characterized by intricately crafted unisons (often in odd times) tempered with long passages of open improvisation, Jensson's music requires discipline and abandon. A guttural guitar and off-beat groove opened "Shooshabuster and D'Angelo's linear phrase soon merged with the guitar for a taut line. He spun off, spewing torrents of notes, his body rocking and contorting like a spastic faith-healer expelling a demon through his horn. Typically intense, D'Angelo added textural nuance and lyricism with bass clarinet on the charming lilt of "Valla . Jensson's improv tended toward angularity with thorny rhythmic flights. Conversely, during atmospheric segues he used extended techniques: tapping the pick-ups, scraping the neck, manipulating pedals and bowing strings. D'Angelo and Black's dueling laptops added to these freer portions. But it was deftly navigating the odd meters where Black shined, making the difficult feel natural. Left alone on D'Angelo's "Meg Nem Sa , he continued to imply the melody's stuttering motion while soloing around the kit. His partners rejoined for a brutal deconstruction of the tune, before slowly building to a rousing conclusion.
The red tin ceilings and coziness of Barbès were ideal for the throwback instrumentation and fin-de-siecle inspired music of The Beat Circus (Apr. 14th). The narrative songs evoked cabarets, Wild West saloons, circus sideshows and Old World gypsies. But the prodigious musicianship and stylistic miscegenation was all modern; the results, refreshingly entertaining. The charismatic Brian Carpenter led, his slide trumpet and effusive onstage direction suggesting Steven Bernstein, while his carny barks and bullhorn singing hinted at Tom Waits. Brandon Seabrook's banjo lent an old timey sound, though his aggressive attack and rhythmically inverted solos were not typical pickin'. Likewise, the rich accordion harmonies were nostalgic, but Alec K Redfearn extended its range with a distortion-laden feature on "Contortionist Tango , drummer Matt McLaren adding percussive colors on the tune while breezily swaying between the mutant waltz and frenetic tango in "Josephine . Ron Caswell anchored with tasty tuba bass lines and added comic relief with musical quotes and vocalizing on "The Rough Riders . The tune received a Spanish tinge from trumpet and the violin of Kathe Hostetter. She spun spirited gypsy runs on "Bloody Boy , elegantly blending with Briggan Krauss' alto sax for its rapid staccato. A buzzing, reedy solo by Krauss built from the long, mournful melody of "Delirium Tremens , adding textured nuance befitting the cinematic composition.
~ Sean Fitzell
One of the small amenities valued by slaves of New York is the ability to walk to work. Drummer William Hooker and ten other Hell's Kitchen residents did just that during the Rhythm in the Kitchen festival at the Metro Baptist Church on West 40th Street (Mar. 30th-Apr. 1st). Hooker is the moving force behind a new organization called the Hell's Kitchen Cultural Center and presented his band The Gift on the last night of the festival. With violinist Jason Kao Hwang and Roy Campbell on brass and flute, The Gift is Hooker's strongest group since his quartet with Mark Hennan. They played a stirring and, by Hooker's standards, rather subdued set in the vaulted chapel. Other neighborhood bandleaders included Francois Grillot, Elise Wood, Ellery Eskelin, Jack Walrath, Brian Smith, Tom Hamilton, Sonny Simmons and Scott Wilson, while percussionist Sean Meehan and pianist Neal Kirkwood (also denizens of the Kitchen) performed striking solo sets. It was a charming, almost quaint festival, with scores of thank-yous and professions of neighborhood pride. Highlights included Eskelin's far-flying duo with pianist Sylvie Courvoisier and a confident pairing of Walrath with bassist Boris Kozlov, but the stunner was Meehan's meditation on snare drum and cymbals, which left an unprepared audience rapt, or at least too curious to move a muscle. The organizers promise to carry on, bringing regular events to the neighborhood that was once the center of New York's jazz scene.
I love jazz because...it's in my blood! My late father, Billy Ainsworth, was a musical prodigy who dropped out of school at 17 after he stunned the seasoned musicians of the Tommy Dorsey Orchestra with an in-off-the-street audition
I love jazz because...it's in my blood! My late father, Billy Ainsworth, was a musical prodigy who dropped out of school at 17 after he stunned the seasoned musicians of the Tommy Dorsey Orchestra with an in-off-the-street audition. He was on the band bus the next day as Dorsey's alto sax and clarinet player, and never looked back. He played with great bandleaders such as Freddie Martin, Tex Beneke and Ray McKinley, some before he was out of his teens (they had to lie about his age to get him into nightclubs). Many older musicians have told me he was the greatest alto sax player they ever worked with. He was equally great on clarinet and was clarinetist and harmony singer for cocktail jazz pioneers, the Ernie Felice Quartet.
He eventually left the road and settled down, and that's when I came in. By that time, he was, by day, vocal group session leader/player/arranger for classic jingles and commercial music produced in Dallas. At night, he played in society bands, jazz combos and elegant showrooms. Tuesdays were slow in the showrooms, so band members' families got in free, and my mom took me to see him backing such legends as Tony Bennett, Mel Torme, Steve and Eydie, and a very old Ella Fitzgerald. Between that, hearing his record collection, growing up around the legendary musicians and singers who were like aunts and uncles to me, and just listening to him practice around the house, filling the neighborhood with incredible jazz sax riffs, I couldn't help becoming that weird kid who was listening to Peggy Lee, Ella and Manhattan Transfer when my classmates were listening to rock, country and soul.
Even though he died before I ever sang professionally, he remains my inspiration and all my CDs are dedicated to him. I like to think that he'd like my music, since it's built on the foundation he handed down to me.