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Red Hook Jazz Festival 2016

Red Hook Jazz Festival 2016
Martin Longley By

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Red Hook Jazz Festival 2016
Urban Meadow Community Garden
Red Hook, Brooklyn
June 12 & 19, 2016

This ninth edition of the Red Hook Jazz Festival appeared to draw its biggest crowd yet. Not that it's a large- capacity event, but perhaps a setting close to the water's edge at Red Hook makes it seem psychologically inaccessible to the lazy New Yorker, involving an actual 15 minute amble from the closest subway station. Plus, the always enticing line-up involves acts that doubtless appeal to the more specialised jazzer. The Urban Meadow Community Garden is a small grassy oasis, surrounded by houses, with vast shipyard loading gantries looming in the distance. The festival enjoys a downhome vibration, peopled by local vendors. The pickled gherkins-on-sticks were particularly sought after.

Mike Golub is still at the helm, with general organisation, but guitarist James Keepnews now plays a significant role, sharing out the work-load. The festival is divided into a pair of Sunday afternoons, on adjacent weekends, each involving five bands. Last year, the second half was rained off, being rescheduled for the end of the summer, but this year, both scorching days went ahead as planned. Sunny though the first half might have been, it had to contend with some quite severe winds ripping up unexpectedly, providing challenges for those players who were referring to their (flapping) pages of music. Everyone persevered in adversity, and some spectacular sounds resulted.

Joe Fiedler's Big Sackbut opened the proceedings on the first day, leading a band designed to satisfy trombone-lovers, and also featuring a bonus tuba. The band-name makes reference to the 'bone's early music ancestor, the sackbut, which hails from the 15th Century. Fiedler's music sounds much more modernised, even though the first tune was the "Sackbut Stomp." It made for a jostling intersection of jollity between the combo's three trombones and single tuba, as the players valiantly battled against the blustery dangers, the gaps between each number extended whilst they secured their scores. That day's headliner was to be Sexmob, and their slide trumpeter Steven Bernstein was already arrived, and ready to guest on "King Of The Road." This was originally penned by country singer Roger Miller, but subsequently tackled by countless artists, notably George Jones and Dean Martin. It was an unexpected choice of material that sounded bright and optimistic in this verdant encampment, Bernstein inserting his mute for added sensitivity, Fiedler adding a buzzing-tread backing. The Big Sackbut preened carefully, spacing out phrases, with Jose Davila harrumphing deeply underneath Ryan Keberle, Luis Bonilla and Fiedler himself.

Tomas Fujiwara & The Hook-Up played next, a band that essentially features Thumbscrew as its core, the drumming leader joined by bassist Michael Formanek and guitarist Mary Halvorson. Horns were provided by Jonathan Finlayson (trumpet) and Brian Settles (tenor saxophone/flute). The wind buffeted even harder, artists hanging onto their music stands, microphones and cymbal stands. Instead of spoiling the set, this situation added a positive sense of tension to the music, and certainly greater suspense in compositions which were already coiled with dramatic tightness. Most of the pieces were dense with activity, but there were also breakdown sections for the bass, which eventually wove in with trumpet and guitar tendrils, tenor added later. A stately section acted as a partner to the shoreline whoosh, Finlayson giving a trumpet fanfare as Fujiwara scattered drum patterns in urgent response.

The Pakistani American guitarist Rez Abbasi can sometimes sound quite smooth and mellow, but his Junction outfit offered a surprisingly gutsy texture and a volatile construction. He was joined by Mark Shim (tenor saxophone), Sam Harris (keyboards) and Kenny Grohowski (drums). Synthesiser basslines and a dreaded ewi (electronic wind instrument) landed the music back in the 1970s, but the noodling was frazzled rather than overcooked, blessed by a careening complexity, drums skipping and juddering. Abbasi solos in the Larry Coryell or John McLaughlin modes, reflecting these guitarists at the most scabrous ends of their vocabularies. He sent out spiralling lines, halting then spouting, the only problem being that Shim and the leader occasionally cancelled each other out, operating within similar sonic parameters.

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