513

Winter Jazzfest, New York City, Day 2: January 8, 2011

Gordon Marshall By

Sign in to view read count
Carlo Derosa launched a bass solo reminiscent of Jimmy Garrison, but fleeter—more like Charlie Haden, perhaps. The theme came back with an African beat on drums. Hints of dissonance cropped up, as well as a time lag between sax and trumpet. There was a sound like a knock on a door, and then banging as if on pots and pans. It sounded like it was coming from Waits, but it was actually oudist Tawil, who had switched to percussion. Tawil then embarked on another oud solo, with a sitar-like quality and, for awhile, even tinges of guitarist Steve Howe, of heroic 1970s progressive rock group Yes. A brief sax solo was followed by a new theme and another sax/trumpet duet to end.



A nice post-bop solo started the next number over a pedal point. The playing was so tight and integrated that it was often hard to tell the instruments apart, despite how anomalous they were in form and nature. Amir sat down to play the zither-like santour and sing, as Waits laid out patiently behind a dark, plaintive warble. A rubato, carol-like harmonizing of trumpet and sax carried the tune forward, and eventually Waits hinted at a rolling beat that accumulated like a snowball.


Underground Horns

Underground Horns started its set with some Latin/New Orleans fusion and a Bo-Diddley beat propelling a 12-bar blues structure. Trumpeter Mike Irwin laid down a down-home funk line to a honky-tonk refrain, backed up by trombonist Kevin Moehringer. Welf Dorr then played a hot sax solo, after which percussionist Okai's djembe took over, along with Ibanda Ruhumbika's big and brassy tuba.

Uptown funk plus klezmer characterized the next number, with overtones reminiscent of John Zorn's Masada. More Latin inflections followed, bringing to mind a rainforest full of tropical fruit, an image bolstered by the tuba's perpetuated ostinato. A hard-bop trombone broke into more tropical percussion and marching band brass, like an acid-rock Big Ten halftime show. Irwin's trumpet solo was creative and filled with verve, mixing and matching curls, twists and turns. A very cool quartal vibe took the set out—and, with a few luminous, late-night exceptions, the 2011 Winter Jazzfest.

Photo Credit Dave Kaufman


Day 1 | Day 2

Tags

comments powered by Disqus

More Articles

Read Diane Schuur at Birdland Live Reviews Diane Schuur at Birdland
by Tyran Grillo
Published: November 20, 2017
Read Pat Metheny at Belfast Waterfront Live Reviews Pat Metheny at Belfast Waterfront
by Ian Patterson
Published: November 19, 2017
Read Crosscurrents at the Michigan Theater in Ann Arbor Live Reviews Crosscurrents at the Michigan Theater in Ann Arbor
by C. Andrew Hovan
Published: November 15, 2017
Read "John Hart at The Turning Point Cafe" Live Reviews John Hart at The Turning Point Cafe
by David A. Orthmann
Published: May 2, 2017
Read "Mary Fahl at The Cutting Room" Live Reviews Mary Fahl at The Cutting Room
by Tyran Grillo
Published: November 11, 2017
Read "Foundation of Funk at Cervantes Masterpiece Ballroom" Live Reviews Foundation of Funk at Cervantes Masterpiece Ballroom
by Geoff Anderson
Published: February 20, 2017
Read "Dawn Clement Trio at Kitano" Live Reviews Dawn Clement Trio at Kitano
by Tyran Grillo
Published: August 14, 2017
Read "Newport Jazz Festival 2017" Live Reviews Newport Jazz Festival 2017
by Timothy J. O'Keefe
Published: August 18, 2017
Read "Mary Ellen Desmond: Comfort and Joy Concert 2016" Live Reviews Mary Ellen Desmond: Comfort and Joy Concert 2016
by Victor L. Schermer
Published: December 17, 2016

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Please support out sponsor