Out to Lunch's No One Left Behind is comparable to collage- an art technique which integrates incongruent fragments, textures and visual forms into a cohesive work. Led by multi-instrumentalist David Levy, the New York-based ensemble at a cursory glance, might be a considered just another experimental jazz funk band. Yet there's clearly more to be gleaned on proven on their third release.
Levy's work with musicians and projects such as Verve Remixed 3 (Universal Records, 2005) is indicative of his appreciation and savvy in merging variety of idioms-jazz classics, popular music, and electronica- into fresh themes. This becomes apparent throughout the course of the album's ten tracks which are spliced, deconstructed, and reanimated with different sounds and music. The electro-dubbed "In Da House" fuses synthesized horns and sonic beats segue into the hip hop persuasions of "Bagga Onions" colored deftly with layers of sampling and synchronized turntablism. The slower paced "Miles Away" contains an itinerary to some far-reaching galaxy that's further realized in" Ostrava" with its heavy dose of sound processing in tandem with acoustic instruments.
Drawing from global influences, the set is not just about techno wizardry. "Joyous Requiem" is inspired by Levy's time in spent in a small village in Akropong, Ghana, filled the mellifluous sounds of African voices and rhythms. There's syncopated vocals in the Avant-pop track called "31 Days," some old-school meets new-school urban funk in "There's a New Seby In Town" and roots reggae vibrations in the title highlighting stirring lyrics and vocals from Damon Cicero Scott, a talented New York street musician. Each of these autonomous pieces stands on its own, yet when sewn together, they form a more intricate and curious tapestry.
Track Listing: In Da House; Bagga Onions; It's a Jungle Out There; 31 Days; Joyful Requiem (In
Memory of Howard Malach) There's a New Seby In Town; Miles Away; Ostrava; For
Catherine Potter; No One Left Behind.
Personnel: David Levy: bass clarinet, soprano saxophone, Bansuri flute, Ableton Live; Josiah
Woodson: trumpet, guitar, flute; Walter Fischbacher: keyboards; Zack Lorber: electric
and acoustic bass, turntables; Jason Kruk: drums; Kris Smith: programming, drums (1,
2, 4, 9, 10); Jamie Reynolds: keyboards (1, 3, 6, 8, 10); Damon Cicero Scott: vocals (1,
4, 5, 10); Gio: vocals (4, 5, 10); Andy Kromarek: guitar, programming ( 6, 10); Brian
Zeiger: bass (10); Alex Sabbag: vocals (10); Jah Sonic: dubs (10); Evan Krismon:
electric guitar (4).
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.