On Saturday, Pittsburgh’s East End Brewing held held a cool “Crafts & Drafts” event that served as a release party for the new Illustration Ale at their brew pub in Larimer. Six local artists/illustrators (including one of my all time favorites, Mike Budai) designed the art for the bottles for the limited edition brew.
In edition to craft vendors and food trucks, live music was provided by Pittsburgh’s Employees of Funk. This was my first time seeing or even hearing of these guys and I was pleasantly surprised. I really dug their style which had more of a raw groove than most brass bands I’ve seen. I also really liked the song selection which consisted of songs by The Meters, Michael Jackson, and Herbie Hancock in addition to some originals. I’ll be looking forward to seeing these guys again sometime soon.
Peter Evans – trumpet
Mazz Swift – violin
Sam Pluta – live electronics
Ron Stabinsky – piano, synth
Tom Blancarte – bass
Levy Lorenzo – percussion, live electronics
Jim Black – drums, electronics
Last evening, I went to check out trumpet player Peter Evans and his septet at the Warhol Museum. I really like the small theater/auditorium there and I’ve seen a few pretty incredible sets over the past few years. The set last night was another to add to the list.
The most intriguing and over-arching element throughout the whole set, to me, was the combination/mixing/blending/balance of acoustic instruments and electronics. This was obvious from the very beginning of the continuous 50 minute set. Mazz Swift (violin) and Sam Pluta (electronics/modular synth/laptop) started together for at least a couple of minutes before any other members played a single note. It was like simultaneously looking into the past as well as at a version of the future as depicted in sci-fi movies. I thought it was somewhat fitting that the bass player wore a Star Wars t-shirt. Some of the sounds created by Pluta throughout the night definitely approached R2D2 territory. And I mean that in the best way possible. At certain points within the set, one side of the ensemble would sort of take over the other (electro vs. acoustic), but they would always come back to a beautiful and interesting blend.
I really dug this show. It was one where I found myself closing my eyes and just absorbing the sound in the room and it felt really nice. I’m not always the best at describing music or musical performances in a very technical or even interesting way. It’s really all inside my head and difficult to put into words. But, I like shit like this that makes me think about things like good/evil, past/future, yin/yang, chaos/bliss, etc etc etc. There were two shows I wanted to attend this week but I could only pick one. Since I’ve seen Charlie Hunter a bunch of times (playing Club Cafe on Saturday btw), I’m really happy I got to see something new and truly unique.
Somehow, I didn’t know about this short documentary on Jackie McLean, entitled Jackie McLean On Mars, until this past weekend. Jackie was one of the greats and one of my all-time my favorite musicians, artists, performers. Check it out!
Mystery, intrigue, the unknown, and discovery are all elements that are highly sought after when it comes to my musical tastes. This is especially true in a live setting. Some of my all-time favorite musical experiences have been ones in which I really didn’t know exactly what to expect from a performer. I was extremely fortunate to have one of these “all-time” type experiences this past Friday in a church basement in Shadyside.
The Necks are an Australian trio whose music can be described as improvised minimalist free ambient jazz. Even though they’ve been around for 30 years, I had never heard of them until I was handed a flyer by the show’s promoter after the Mostly Other People Do The Killing show at Alphabet City last month. After checking out their newest release, Unfold, I knew I couldn’t miss this show.
The two set performance brought upon so many thoughts and emotions that there’s no way that I could clearly or concisely put them into words in any sort of eloquent way whatsoever. The first 30-ish minute set started in a way that, to me, seemed like an intro or prelude. After a few minutes of anticipating a beat to drop or a melody to begin, I realized that that wasn’t at all what was happening here… and it was a beautiful and blissful “ahhhh” type of moment like “Ok. I get it.” The trio (piano, upright bass, and drums) just continued to slowly develop and deepen a groove, which was mostly implied but undeniably deep, like a groove within a groove, all without any sort of traditional drum beat. I found myself closing my eyes quite a bit, even though the room itself (with its industrial duct work and electrical lines contrasted with colorful hanging quilts and a stained glass window of fish), was almost as interesting as the music being created.
The Necks somehow are able to subtly tap into the frequencies and rhythms of the universe. The music is very primal, circular, hypnotic, spiritual and meditative. Within the hour (or so) long performance, they were able to cover a broad spectrum of human emotions from blissful joy and beauty to some pretty dark territory. When played together, their acoustic instruments often had a way of sounding electric. So much so, that I noticed a few people craning their necks or even standing up to decipher what was creating the sounds they were hearing.
The video below is a shot of the aforementioned duct work on the ceiling during the last couple of minutes of the second set. I normally would LOVE to share video footage of a show like this, but video and photography would not have been a good idea at this show. I felt it would have been highly irreverent and disrespectful and would have killed the intimate once-in-a-lifetime kind of vibe. So, I figured that it wouldn’t be too offensive to anyone if I simply recorded some audio while filming the ceiling above me. While this audio clip doesn’t do this show any justice whatsoever, it does give me something to look back on as a reminder of the incredible night. Enjoy.
Ben Opie – saxophone
Paul Thompson – bass
Dave Throckmorton – drums
My reality over the past month or so has been, and continues to be, completely and utterly turned upside down. I feel like a hole has been torn in my basic understanding of everything. Never in my 37 years on this planet have I felt so fearful, uncertain, angry, and disgusted. This blog was never intended to discuss anything political whatsoever but it now completely permeates our reality whether we want it to or not. I’m currently split between taking the all-in activist route and the total opposite, which would be turn it off and to completely escape and mentally remove myself from this current mess as much as possible. FUCK.
With that being said, it is now more comforting than ever to be in a place and around people who see the world in a similar way or at least in a way that involves some sort of sanity or integrity. And what is even better than that is to be in a place with these kind of people experiencing something absolutely beautiful, imaginative, and unique. Saturday night was one of these precious moments.
Thoth Trio, a band covered pretty heavily on this blog, was the musical guest for this month’s edition of Second Saturdays, which is a monthly event hosted by Pittsburgh’s The Pillow Project. The Pillow Project describes themselves as being “all about creating and investigating new ideas in a post-jazz improvisation and challenging how dance and performance is experienced“. These “happenings” are held in a great loft space called The Space Upstairs above Construction Junction in Point Breeze. I’d been to one of these a couple of years ago, so I had an idea of what it was all about. The space and the event have a sort of 1960’s, artsy, counterculture, beatnik, hidden/secret/forbidden kind of vibe with people hanging out on couches, bar stools, on the floor, wherever. Basically, as the music starts, or sometimes even half way into a piece, dancers will appear in the center of the large room seemingly from nowhere to interact spontaneously with the music and with each other creating a truly unique experience. Personally, being as though Thoth is my favorite band in town, I was there for the music. But the dancers, undeniably, add a certain whimsy to the whole thing, especially when dancing in front a huge projection of falling snow.
Thoth Trio has the ability to go from a ferociously blazing sax solo to almost complete silence to a deep drum and bass groove (and anywhere in between and back again!) extremely effortlessly, so their music fit into the vibe of this event really really well. The video above is a clip from Thoth’s own “Carbon 60” from their second set, which was a request by guitarist Josh Wulff. Wulff is part of a another project entitled Sound/Unsound Trio with Ben Opie and Throck. Ben had mentioned that they have a release on the way. We here at Jazz Orbits will be eagerly awaiting that one.