Suspend Some Time and Take a Trip Through Julian Lage's “Gladwell”

 

Julian Lage "Gladwell"

Decca Records B0015502-02

Recorded at WBGH Studios, Boston, Ma

August 12^th , 13^th  & 14^th  2010 September 29, 2010 and December 10 & 11^th 2010

You have entered a world where time and space are suspended; a world, mysterious and forgotten as created in the mind of guitarist Julian Lage. You have entered the imaginary town of Gladwell. In this town all the instrumental voices are aural representations of the unique residents of this metaphorically magical place.

Using this town as his canvas, Lage creates a musical vignette that captures the sights, sounds and feel of this wholly imaginary place- a compilation of sorts that is made up of people, musical influences and experiences that he and his fellow musicians hold dear.

From the decidedly western sounding “233 Butler” which Lage impeccably plucks on a 1934  guitar built by R.A. Mango, the album has a rooted  Americana feel. A layered percussion solo by Tupac Mantilla is laced with voice overs, sighing cello and an array of unidentifiable percussive elements.

Tupac Mantilla

“Margaret” is a particularly evocative ballad that Lage wrote for friend and fellow Berklee guitarist/composer Margaret Glaspy. Lage employs tenor lines by Dan Blake and cello accompaniment by Aristides Rivas to create this compelling piece of music that somehow has undertones suggestive of  Pat Metheny and Charlie Haden’s “Beyond the Missouri Sky” from 1997 . 

 

Lage includes three improvised guitar pieces in the album, which he plays on a vintage 1926 Martin

00-28. On the first “ Point the Way” Lage over dubs three parts into an interesting quilt of sounds that he codifies in a brief two minute twelve seconds. The second piece, “Cathedral” ,is the equally short but delicate chamber piece that employs the unique resonance of the vintage Martin guitar. The final improvised/ overdubbed guitar piece is 

“Listen Darkly” which is the most frenetic of the three.

“However” is written by saxophonist Dan Blake and has a distinctively a rhythmic drive created by Mantilla’s effective use of drums and shimmering cymbals. Lage has a distinctive sound that lies somewhere between Metheny and Frisell without being too much like either of them.

Saxophonist Dan Blake

The classic “Freight Train” is played in a un-garnished, straight ahead almost reverential way, with Lage’s virtuosity and passion shinning delightfully through.

On “Listening Walk” we find Mantilla, Roeder and Lage create the bustle of a crowded train station. Lage uses a finger picked ostinato that sets the stage for Blake and Rivas to introduce the backing melody line, that simulates the loudspeaker announcements at the imaginary Gladwell’s train station. Mantilla and Lage have a great affinity as the two play off each other like two familiar friends walking through their imaginary town. 

 

“Cocoon” is a gossamer tune that is laden with both melancholy and timelessness. Aurally it depicts the sacred place, the sanctuary that all destinations like Gladwell invariably have.

The seminal standard “Autumn Leaves” was reportedly played by Lage in a living room-like environment created in the studio. Here he played for the exclusive enjoyment of his band mates who were all seated in a half circle on the floor around him. It is a rare glimpse of the fine guitarist playing solo for the enjoyment and under the direct scrutiny of his fellow musicians.

“Iowa Taken” is another fine example of the precise interplay that Mantilla, bassist Jorge Roeder and Lage have developed. Roeder provides some interesting and fluid bass lines during his solo. There is a fascinating draw to Lage’s creative process of building his musical vignettes, employing changes in direction, time and alternating between repeating lines and dancing single line adventures. 

Bassist Jorge Roeder

The final piece on the album is “Telegram” which, according to the liner notes, borrows from the tune

“Red Prairie Dawn” and is a jaunting, joyful down home piece of Americana in the finest tradition. Lage picks his way on a vintage 1932 Gibson L-5 here and saxophonist Dan Blake soars on this one.

Julian Lage and company have astutely orchestrated this entertaining travelogue through his imaginary Gladwell and it is a trip worthy of multiple visits.





Musicians: Julian Lage (guitars); Dan Blake (saxophones); Aristides Rivas (cello); Jorge Roeder (bass); Tupac Mantilla ( drums and percussion)

The Group BANN "As You Like" Modern Jazz at it's Best

Review of BANN’s   “As You Like”

Jazz Eyes Records 010

Recorded by Jay Anderson Mountain Rest Studio New Paltz, N.Y.

Rarely do I hear an album, this early in the year, that makes me want to declare it a possible candidate for one of the year’s best. It is simply too early to make that kind of statement, but the new BANN release “As You Like” may very well deserve this accolade.

BANN is an acronym for the first letters of the last names of the group’s players. Seamus Blake on tenor saxophone, Jay Anderson on double bass

(and incidentally the recording engineer on this date);  Oz Noy on electric guitar and Adam Nussbaum on drums. The rhythm section of Anderson and Nussbaum is a powerful team that together set the firm foundation for the explorations of the talented Blake and the quizzical Noy.

On the opening track, the group reconstruct the well-worn Jerome Kern tune “All the Things You Are” creating a modern sound, bringing it into the 21^st century. Blake’s powerful tenor plays ala Joe Henderson as Nussbaum and Anderson swing beneath. When Noy takes his fusionesque solo, resplendent with marvelously creative electronic effects. the dynamic rhythm section appropriately compliment his styling without missing a beat.

Monk’s music is especially good fodder for these guys as they tackle his “Played Twice”. There is a marvelous chemistry at work here that is quite wonderful to behold.  It is obvious that these guys all know and have studied the tradition. Blake and Noy are particularly well suited to play together, meshing their sounds on the head beautifully. When they solo, Blake’s tenor is strong, confident and biting. Noy has absorbed some of the best characteristics of Scofield’s funk, Frisell twang and combined them with Jeff Beck's blues sensibilities. Anderson’s bass lines are probing, exploratory and help push Noy along. Nussbaum finishes the piece with a stuttering Monk-like drum solo. This is a tour de force precisely because they all play so well together.

For those of us who grew up singing to Crosby, Stills & Nash, the inclusion of David Crosby’s touching “Guinivere” is a welcome surprise. Here Seamus Blake’s sensitive tenor work is simply beautiful. He articulates in a tender way that emits desire and yearning. Guitarist Noy adds his own delicate electronic effects that are superbly subtle. Nussbaum delicately brushes his cymbals in a cascade of  shimmers.

On “Days of Old” Anderson’s warm solo bass starts the song before Blake and Noy join in one of the more mellow songs on the album. Noy strums melodiously as Blake takes on a bluesy tone ending the song with a particularly poignant way.

“As You Like” is a funky tune with a repeating three note bass line and some guitar chords that simply feels good.  Blake takes the first solo, playing in melodious flow of inventive ideas. His playing, while not incendiary, is impassioned, thoughtful and evocative. When it is Noy’s turn his solo is bursting with ideas, quirky stylistic choices and an attack that blurs the boundaries between jazz and rock.

On Anderson’s “ At Sundown” we hear the Frisellian side of Noy. This decidedly western flavored tune is played brilliantly by the entire ensemble with Blake and Noy dueting in perfect sync on the theme. Noy executes a series of slides and tremolos that are extremely creative. Nussbaum keeps that back in the saddle beat as Noy meanders is a most twangy way, at times sounding like slide guitar wizard David Tronzo. Anderson plucks his way around his melody and the tune fades away like the sun dipping into the desert sand.

Oz Noy’s wonderfully infectious “ Minor Shuffle” is a playful romp that has Blake and Noy trading melody lines. Noy is joyfully unpredictable when he solos here without straying too far form his melody. He is a formidable player that has strangely not yet reached the prominence of some of his contemporaries. If his work on this album is any indication, his star is inevitably on the rise.

Joe Henderson’s “Isotope”  is a complex, jagged melody line that the group executes brilliantly. Blake’s sound is reminiscent of Joe’s. He has a deep resonant tone and he intonates clearly.  I first heard Seamus Blake on his 
“Live in Italy” album recorded in 2007. I heard something there and I continue to find his playing compelling. He has a fine command of his instrument and he plays with an emotional appeal that makes you want to hear more.

Jay Anderson and Adam Nussbaum are consummate professionals and first call musicians. They are the glue that holds this band together.  BANN is a powerful and effective communicator of a modern and exciting form of jazz that is entertaining, fresh, approachable and creative. I hope they stay together long enough to create some more great music.

Musicians: Seamus Blake, tenor sax; Jay Anderson double bass; Oz Noy, guitar and effects; Adam Nussbaum, drums