"Brooklyn Babylon" at The Performing Arts Center at Purchase College, October 22, 2011

Brooklyn Babylon

A collaborative multi-media presentation by the composer

Darcy James Argue and his Secret Society Orchestra

and the Graphic Artist Danijel Zezelj.

Previewed on October 22, 2011 at

The Performing Arts Center at Purchase College

The multi-media performance Brooklyn Babylon

The Borough of Brooklyn has become a melting pot of all things artistic. My  son, a twenty-five year old writer/editor, has made Brooklyn his adopted home. He was marveling recently that so many modern day masters of contemporary writing, regularly give readings of their work around town. I often find myself reviewing music of inspiring depth and boundless energy emanating from a variety of great musicians living and recording in Brooklyn. Consequently their is a "live" music scene in many parts of the Borough. A friend's son produces meticulously crafted, industrial design inspired furniture and sculpture somewhere in a converted factory in Red Hook. These are but a few examples of the artistic vibrancy of this city. Perhaps it is the relative affordability that draws economically challenged artists, but I suspect it is also a sense of community that is Brooklyn that fosters and nourishes a collective artistic soul that is drawn to this Borough in the shadow of New York City.

So it was no surprise to see Brooklyn itself as the  source of inspiration for an exciting new multi-media work by two artists, themselves immigrants, who have made Brooklyn their home. "Brooklyn Babylon" is the brainchild of a graphic artist and animator from Croatia and a Canadian musical composer from Vancouver, British Columbia. The work was commissioned by the 
Brooklyn Academy of Music for its 2011 Next Wave Festival.
It combines Danijel Zezelj's animation and “live” painting with
Darcy James Argue’s carefully orchestrated musical score to tell the story of the not so mythical  Brooklyn Babylon. The story unfolds with Lev, an immigrant master carpenter who creates beautiful carousels that feature his masterfully carved animals. Lev unexpectedly finds himself realizing the dream of having his work recognized,in this case by city officials, as he is chosen to build a carousel to top off a colossal new tower planned to be built in downtown. The tower has its supporters and its detractors as this modern day edifice has the prospect of turning Brooklyn into a Metropolis.The implicit growth that comes with such ambitious expansion plans threatens to  undermine the precious close-knit neighborhood feeling, the very soul of the community that has nurtured Lev's own artistic development.

The story unfolds right before your eyes as Mr. Zezelj’s sweeping animation is flashed across a large screen behind the orchestra. Bold streaks of black and white form, graphic comic-like images of a bustling neighborhood. Part Fritz Lang's "Metropolis"  and part Bob Kane's "Gotham", Zelzelj's images are modern and yet nostalgic. We see the growing tower and the ominous shadow that it casts on the surrounding neighborhoods. As Lev builds his beautiful carousel, he questions his own involvement in the project. As these scenes unfold overhead,Mr. Argue’s Secret Society Orchestra creates the sounds that breathes life into Mr.Zezelj's  images. To add to the spontaneity of the experience there is a scaffold set above the orchestra, just below the animation screen, where Mr.Zezelj, using rollers and brushes, creates a continuously changing scene in a dazzling exhibit of “live” painting.

Producer Beth Morrison, Composer Darcy James Argue, Artist Danijle Zezlej

Mr. Argue’s orchestra is a eighteen-piece marvel of multi-instrumental versatility. Theatrically having his musicians entering the stage from all directions, he abandons the regimentation of seating all the brass in one line and all the reeds in another. Mr. Argue’s set-up spreads the stage of the Performing Arts theater with a semi-circular array of musicians who remain  standing in working class attire throughout.The experience creates a wonderful sense of immersion with visual and audible sensory stimulation working in tandem to help present the story. There is a marvelous sense of involvement in the creative process as you see the musicians change instruments to create the precise sound Mr.Argue has orchestrated.

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Mr.Argue conducting his Secret Society Orchestra

Over the past year Mr. Argue was apparently cloistered at the
MacDowell Colony in New Hampshire, a nationally recognized retreat that affords artists a peaceful, bucolic setting in which to create enduring works of imagination. It is here where he wrote the majority of his score for 
“Brooklyn Babylon”. Using Mr.Zezelj’s animation and sketches Mr. Argue composed this compelling piece of music to help tell the story. Mr. Argue chose  a team of dedicated and talented musicians to make this demanding project work. It is their collective voice that allows him the flexibility to create the multi-phonic textures so critical to his work. Mr. Argue employed sounds seldom heard together but perfectly suited to his purpose. Whether it was the euphonium of Mr. Fahie, the contra bass clarinet of Mr. Sinton, the piccolo of Mr.Von Kleist, the melodica of Mr. Webster, the acoustic guitar or Mr. Noelle, the gutsy tenor of John Ellis or the soaring trumpet of Ingrid Jensen to name a few,  the music is awash in sounds that are carefully crafted to produce the desired effects in perfect concert with Mr. Zezelj’s fleeting images.

The result is a dramatic piece of music that tells a story that is near and dear to the artistic hearts of Mr. Argue, Mr. Zezelj and I suspect many of the musicians who give it life. A story about the vulnerability of fragile, artistically friendly neighborhoods that are the creative lifeblood of the artists who live there. It deals with the conflicts that come from wanting to have your art accepted and being able to enjoy the fruits of your labor, while at the same time retaining your artistic integrity. The end result is an impressive narrative that offers visual splendor and musical majesty of the type not often experienced, a tour de force.Mr.Zezelj's "live" painting gives the performance a kinetic quality that keeps you engaged. At the end of the performance Mr.Zezelj blackens out his own creation- a final demonstration of the impermanence of art and metaphorically of the fragility of his precious Brooklyn neighborhoods.

Having in recent months seen three vastly different large ensembles - The Christian McBride Big Band, The Westchester Jazz Orchestra and now the Secret Society- it is safe to say that large ensemble composition, orchestration and arrangement are all having a welcome resurgence. The expanded palette of colors that can be used with a big band is only limited by the creative mind of the composer. After his auspicious debut album"Infernal Machines"  from 2009  and now with "Brooklyn Babylon," Mr.Argue proves that he is a fertile force indeed.

Artists: Darcy James Argue,composer and conductor; Danijel Zezelj, Animation and live painting; Erica Von Kleist, Piccolo, flute, alto flute, alto sax, soprano sax; Rob Wilkerson, flute, clarinet, soprano sax, alto sax; Sam Sadigursky, flute, clarinet, soprano sax, alto sax; John Ellis, clarinet, tenor sax; Josh Stinton, clarinet, bass clarinet, contrabass clarinet, baritone sax; Seneca Black, trumpet, flugelhorn; Tom Goehring, trumpet, flugelhorn; Matt Holman, trumpet, flugelhorn; Nadje Noorhuis, trumpet, flugelhorn; Ingrid Jensen, trumpet, flugelhorn; Mike Fahie, trombone, euphonium; Noah Bless, trombone;

James Hirschfeld, trombone tuba; Jennifer Wharton, bass trombone, tuba; Sebastian Noelle, acoustic and electric guitar; Gordon Webster piano, electric piano, melodica; Matt Clohesy, contrabass, electric bass; Shawn Baltazor, drums and percussion.

The 2010 Jazz Journalist Association Awards at City Winery, NYC

Last night I attended the 2010 Jazz Journalist Association Awards ceremony at the City Winery in lower Manhattan. The event was a joyful meeting of the jazz community, bringing together the musicians, publicists, record producers, journalists, broadcasters and educators who all in some way symbiotically allow this art form to flourish.

Jazz, as a musical genre, is as diverse as the community it serves. The performers that graced the stage of the City Winery, as well as the award recipients were emblematic of this wonderfully unifying reality. The event would have been impossible without the dedicated work of JJA president Howard Mandell and several supporting members including the tireless efforts of event co-producer Yvonne Ervin.

The attendees were treated to various homemade wines and
hors d'oeuvres by the venue's gracious host Michael Dorf, owner of the City Winery. The performances were somewhat overshadowed by the bustle of the normally savvy and discerning crowd. With so many heroes, contemporaries, fellow artisans and fellow writers in the attendance, it was just too difficult for many of the attendees to quietly focus on the music. People milled around, meeting, greeting and mingling in a rare chance to connect. The ceremony was simulcast live, with streaming broadcasts to parties that were organized in other satellite cities. The  performers valiantly carried on, oblivious to the ambient buzz. The internationalism of the music ranged from the thoughtful solo styling of  Japanese pianist Ayaho  Shirasaki, to the deceptively easy listening sounds of the Serbian guitarist Rale Micic, with his Balkan folk music infused jazz trio. The home grown sounds of DC born  Marc Cary's Focus Trio played with an intensity that had many in the audience mesmerized. Colorado born saxophonist Tia Fuller , a  member of Beyonce's all female band, headed her own Quartet with the alto saxophonist  showing her prowess on the horn.  Bobby Sanabria's grammy nominated Big Band ended the evening's music with a smokin' set of Latin-infused big band music that got everyone's feet tapping.

I won't go into listing all the nominees and the winners of the awards as they can be found in a beautifully succinct and organized fashion at JazzTimes here .

Some of the highlights of the evening were Darcy James Argue's  two awards for "Best Up and Coming Artist" of the year and "Best Large Ensemble of the Year" for his incredible "Secret Societies" debut album  "Infernal Machines".

Despite a traumatic year in which he freakishly broke his arm twice, Joe Lovano won three awards- one for "Tenor Saxophonist of the Year", one for "Best Small Ensemble of the Year" with his "Us Five" group and the prestigious "Record of the Year" award for his brilliant  "Folk Art".

 In deference to a solid body of work, the saxophonist James Moody was honored with the "Lifetime Achievement" award, but was unable to attend due to recent surgery. The audience was sprinkled with plenty of other jazz veterans including past award winner altoist Lee Konitz, saxophonist Lew Tabakin, chanteuse Sheila Jordan,  saxophonist Jimmy Heath, producer of the year George Wein, trombonist of the year Roswell Rudd and this year's award winner for best organist Dr. Lonnie Smith along with other journeymen musicians and writers. 

Youth was also in abundance at this years awards ceremony, a sign of a bright and vital future for this music. "Musician of the Year" pianist Vjay Iyer, "Alto Saxophonist of the Year" Rudresh Mahanthappa, "Up and Coming Artist of the Year" composer/ arranger Darcy James Argue, mallet master award winner Stefon Harris and drummer extraordinaire Matt Wilson were all in attendance.

I came unaccompanied to the event, but with all the love in the room, a love generated from a love of this music, I wound up having a great time sharing a table with two wonderful singers, female vocalist Perez and male vocalist and award nominee Giacomo Gates. Also seated at my table were two other nominees, the dynamic baritone saxophonist Claire Daly and talented flautist/composer Jamie Baum.

In keeping with the international flavor of the event the "Jazz Picture of the Year" was awarded to a black and white shot of the trumpeter Tom Harrell, set against a huge curtain by Russian photog Lena Adasheva. Click to here to view.

Fellow blogger Doug Ramsey won best "Blog of the  Year" for Rifftides, congratulations to Doug.
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It was a great time of celebration. The outpouring of love and camaraderie that this community has is both heart warming and inspiring. The JJA should be applauded for creating and fostering this forum of recognition and celebration. Despite the harsh economic realities of the music business in particular and the economy in general, I came away with a renewed spirit of hopefulness. Hopefulness that this music is the key to a communication that fosters tolerance, inclusion and spirituality and needs no translation. Hopefulness that this music transcends nationalistic borders, cultural differences and is immune to totalitarian restrictions. This year, with many awards going to younger artists who have an ever expanding creative vision of the future of jazz music, I have come to believe that we are on the dawn of a new era for this music. Bandwidth is the highway to global interactivity and cooperation. It recognizes no boundaries, proving to be both pervasive and resilient to attempts at censorship . Music, and in particular jazz music, is the universal interpreter of the cooperative message of love.