Winter in America
“Welcome to the resistance,” Darcy James Argue said on Friday night to the packed audience at Subculture, a basement club on Bleecker Street. Then the Canadian-born, New York-based composer and bandleader turned to his 18-piece ensemble, Secret Society, and, with deft flicks of his wrists, guided them into the opening of Real Enemies, his cycle of pieces based on the theme of state-sponsored paranoia. A few hours earlier, in another part of New York City, Donald Trump had been forced to listen to the representatives of the CIA and the FBI presenting evidence that Russia’s government and secret services had helped to get him elected as president of the United States.
“Social justice” was the theme of the event in which Argue was participating: the 2017 edition of Winter Jazzfest, the annual showcase featuring a two-day marathon of more than 150 groups at about a dozen venues centred on Greenwich Village. Different bandleaders expressed their attitude to the topic in different ways. The pianist and composer Samora Pinderhughes led his 11 musicians through an extended piece titled The Transformations Suite, a profoundly moving contemporary take on themes no less relevant than when they were explored half a century ago in Max Roach’s We Insist! Freedom Now Suite. The Indian-American singer and harmonium player Amirtha Kidambi performed a piece inspired by the death of Eric Garner at the hands of NYPD officers in 2014; she announced that all proceeds from that night’s sales of the new CD by her quartet, Elder Ones, would go to the fund supporting four members of the NAACP arrested earlier in the week for protesting against Trump’s nomination for attorney general of a man who has campaigned against voting rights. The trumpeter Peter Evans called for the recognition of musicians — he gave Matana Roberts as an example — who have a record of campaigning on these issues.
Others preferred to let the music speak for itself, but there was never any doubt of the continuing role that jazz musicians have to play in exposing issues, raising consciousness, and maintaining morale in difficult times. Their inherent independence of spirit, their understanding of the need to reconcile individual and collective action, their roots in an idiom that came from suffering and exploitation, and their acceptance of the need to fight against the commercial odds make them ideally suited to the task.
To get back to the music, Argue is a young man with an intriguing approach both to personal style (he looks as though he might relax at the weekend by putting on a cravat) and to finding new solutions to the problems inherent in playing jazz with a large ensemble. Throughout the performance of Real Enemies, he used a tablet to trigger sound bites from such people as Oliver North and Dick Cheney. With Ingrid Jensen among the trumpeters and Chris Speed among the reeds, the writing contained echoes of Elmer Bernstein, Bob Graettinger and Gil Evans: lots of drama, lots of complexity, lots of variety (particularly in the instrumental colours: a grouping of piccolo, flute, two clarinets and a bass clarinet, for instance, or a trumpet lead supported by four flugelhorns). It would be an important and pathfinding work at any time, never mind now.
Pinderhughes’ The Transformations Suite did not enjoy the same degree of attention when the recorded version came out last year, but it made a deep impression in the New School’s Glass Box space late on Friday night. There was nothing ironic here: the wounds of 400 years of slavery and its aftermath were allowed to bleed openly in the poems and lyrics delivered by the actor Jeremie Harris (who wrote some of the words), the wonderfully soulful South African-born singer Vuyo Solashe, and most of all by Jules Latimer, a young Juilliard drama student who took the considerable risk of acting out grief and fear without restraint. “Swing Low, Sweet Chariot” occasionally popped up as a leitmotif, and Pinderhughes’ lean but succulent writing for his five-piece horn section provided a platform for improvisations by his extravagantly talented 21-year-old sister Elena, who might just be on her way to becoming the finest flautist jazz has produced, the tenorist Lucas Pino, and Braxton Cook, who took the roof off the place with a roaring alto solo.
John Beasley’s MONK’estra performed their empathetic, swinging and sometimes hiphop-tinged revisions of Thelonious Monk tunes at Dizzy’s Club Coca-Cola in Lincoln Centre on Thursday night, in front of a window with a view of Trump Tower. Luckily the arrangements and the solos — notably by the always creative tenorist Greg Tardy, the trombonists Frank Lacy and Conrad Herwig, and a guest from France, the fine harmonica player Grégoire Maret — were more than enough to divert attention away from the new epicentre of American values. And, as Beasley reminded us, Monk himself had grown up literally only a stone’s throw away, on West 63rd Street.
As impressive as anything I heard during three crowded days was the octet led by the guitarist Mary Halvorson, which features not just a bunch of great players (including the trumpeter Jonathan Finlayson and the tenorist Ingrid Laubrock) but the leader’s extraordinary interplay with the pedal steel player Susan Alcom, which elevates the music to a whole different realm of texture and emotion. Halvorson’s compositions are fascinating enough in any case: sounding as though they are through-written, they have the impact of great short stories, full of surprising twists of plot and mood, never quite ending where you expect but always resolving brilliantly.
While the festival was taking place, the great jazz critic Nat Hentoff died in New York at the age of 91. Through his liner notes, his pieces for Down Beat, the Jazz Review and the Village Voice, and books such as Hear Me Talkin’ To You (co-authored with Nat Shapiro) and Jazz Is, he helped shaped the view of several generations of listeners. He was also a lifelong fighter for social justice. And in 1960, for his own short-lived label (which released classic albums by Charles Mingus and Booker Little), he produced Cecil Taylor’s sublime trio version of “This Nearly Was Mine”, which alone would earn him a place wherever the good ones go.
* All the music mentioned above is out now on CD. Darcy James Argue’s Real Enemies is on the New Amsterdam label. Samora Pinderhughes’ The Transformation Suite is on Gray Area. John Beasley’s MONK’estra Vol. 1 is on Mack Avenue. The Mary Halvorson Octet’s Away With You is on Firehouse 12. “This Nearly Was Mine” is on The World of Cecil Taylor, on the Candid label.
Sounds like a marvellous weekend, if a little compressed.
that was a beautiful evening at Nola’s Penthouse with Nat when
Den(n)is, Cecil, and i recorded This Nearly Was Mine. do i get a place with the good ones ?
see you soon, Nat ! RIP
Buell — I’ve always loved that album, and that track in particular. There’s something magical about it: the deliberate pace, the lyricism, the endless variations. Some might find it hard to imagine now, but Cecil had a wonderful way with standards. Anything more you’d like to say about it? It’s always great to hear your memories. — Richard.
we’d need a 1/2 hour phone call to cover my memories of each of the three
incredible takes we made of TNWM, Richard ! then there’s that bass, a
William Forster, once the property of your King George III. Handel loved that bass, which i purchased from Clarence Cooper, a London dealer, in 1955. wish i still had it. i only play the cello now. my two fave bows are a
John Dodd, formerly played by Sir John Barbirolli, and a bow by Arnold
Voigt, who once had a large and prestigious shop in Mayfair, and who wrote
the certificate for that Forster bass i purchased from Clarence ! small world…..looking forward to that call.
Saw Real Enemies at BAM last winter. At this performance was there the accompanying images to go with the music as it was at BAM?
No — it was just the music and the voice samples.
You lucky bastard!!! (as my Sociology Dean described me when I went to check the results of my finals). I’ve spent the best part of 4 days playing at the Illawarra Folk Festival. On Saturday night I got home and tuned into Clayton Thomas’ 24 hr “World’s Longest Bass Solo”
Already into the eighteenth hour of his solo it was such a blessing to hear coherent intelligent music for the first time in days (ok – to be honest I hadn’t expected it to be quite so musical). I lasted until about 1.00 am and then blew out Sunday altogether.