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does something similar. One of the marvels of
this new disc is “Bye Bye Bees,” a sweeping
piece that starts out in one spot, but ends up in
another. The conclusion has elements of its origin,
but they’re two discrete places—nice trick.
Something similar happens on “Pianos Of The
9th Ward,” a bittersweet tune that introduces
itself as a simple keyboard lament but bids
adieu as a brass-’n’-reeds prayer; slow, steady
morphing is a key strategy here.
Sickafoose isn’t working in a swing vernacular
per se. He grew up on rock, has spent lots
of time onstage with Ani DiFranco, and claims
Tortoise and Bill Frisell as influences.
Propulsion and lilt are in full effect on these
pieces, however. “Everyone Is Going” manages
to blend a martial undercurrent and a
sweeping grace. Trumpet, trombone, two guitars,
drums and some effects help from
DiFranco (ukulele) and Andrew Bird (violin)
make the program rich.
Rather than each piece being a showcase for
a specific soloist, the group is perpetually playing
hot potato with shards of melody and textural
colors. With this rather selfless tack, this
remarkable music—especially the ersatz
African bounce of “Warm Stone” and the
Middle Eastern blues of “Cloud Of Dust”—is
bolstered by the one-for-all atmosphere. By
holding hands, they’ve created something
unique.
—Jim Macnie
Tiny Resistors: Future Flora; Invisible Ink, Revealed; Bye Bye
Bees; Pianos Of The 9th Ward; Everyone Is Going; Cloud Of
Dust; Warm Stone; Paper Trombones; Whistle; Tiny Resistors;
Barnacle. (68:27)
Personnel: Todd Sickafoose, acoustic and electric bass, piano,
Wurlitzer, vibraphone, marimba, bells, celeste, accordion; Shane
Endsley, trumpet; Ben Wendel, tenor saxophone, bassoon; Alan
Ferber, trombone; Skerik, baritone saxophone (5, 8); Adam
Levy, guitar; Mike Gamble, guitar, effects; Allison Miller, drums
(2, 3, 11), percussion (5–10); Simon Lott, drums (1, 4–10), percussion
(2, 3, 11); Andrew Bird, violin, looping, whistling; Ani
DiFranco, voice, telephone mic, electric ukulele (4).
»
trombonist Sandro Tomasi in deep conversation
on “Va Roman,” where the swirling ensemble
sound builds and builds. “Manuel,” with more
bari and Bill McHenry on tenor, has the high
drama of tango. Jeff Ballard’s snare on trumpeter
Taylor Haskins’ composition “Memes” is
deliciously subversive. Klein signs off with the
gorgeous calm of Oliver Messiaen’s “Louange
Á L’Éternité De Jesus.”
There is a lot to listen to here, an album worth
revisiting again and again. —Paul de Barros
Filtros: Va Roman; Miula; Manuel; Yeso; Amor Profundo;
Memes; Volante; Luz de Liz (Filtros); Vaca; Louange Á L’Éternité
De Jesus. (67:56)
Personnel: Guillermo Klein, piano, vocals; Carmen Candelo,
vocal (5); Miguel Zenón, alto saxophone, flute; Bill McHenry,
tenor and soprano saxophone; Chris Cheek, soprano, tenor and
baritone saxophone, Diego Urcola, trumpet, valve trombone;
Sandro Tomasi, trombone; Taylor Haskins, trumpet; Ben
Monder, guitar; Fernando Huergo, electric bass; Jeff Ballard,
drums; Richard Nant, percussion.
»
Ordering info: crypto.tv
Ordering info: sunnysiderecords.com
CDs
»
Roy Hargrove
Earfood
Die Enttäuschung
Die Enttäuschung
Guillermo Klein/Los Guachos
Filtros
Todd Sickafoose
Tiny Resistors
The HOT Box
Roy Hargrove, Earfood
CRITICS»
Critics’ Comments
Great tunes, a muscularly integrated band, warm and soulful soloing, especially the aggressive Gerald
Clayton but also Hargrove, whose clarity of melodic line is exemplary. Solid.
—Paul de Barros
I agree with the nut of Hargrove’s self-assessment in the notes, immodest as it is (“transcendence” rarely
comes from those who say they provide it), that his group’s touring has made them extremely cohesive. But
the comfort zone in this case seems to lack something in terms of productive friction, and the routine feels
too comfy. The result is great musicians—a dream team—making a good record. Gerald Clayton is the
exception, consistently taking things to another level and making them sound better. Half a star is his alone.
—John Corbett
The trumpeter has always made an asset out of being obvious, and his declarations on this new disc sustain
that notion. The tunes are overtly catchy, with the solos glib and energized. Has he come up with a modern
version of The Rumproller without even trying It’s going to be fun to hear this stuff live. —Jim Macnie
Die Enttäuschung, Die Enttäuschung
Nothing wrong with a little ersatz Ornette, especially when the fragged phrases and sideways bop lingo is so
colorful. And while I miss the eloquence of, say, Old And New Dreams, there’s something charming about
the odd coordination that this German outfit engenders.
—Jim Macnie
This vinegary little ensemble sputters along with the disjointed free spirit of a Tin Lizzy in need of a tune up.
The horns have an often sour, acidic taste, and swing with a tart but rattling wobble, as if their wheels were
coming off. It’s free-jazz in miniature, more blithe than bad ass; but smart and self-aware. Fey and cute in its
way, it won me over.
—John McDonough
Openly improvised pianoless quartet jazz boiled down to the bone, á là Ornette Coleman and Don Cherry,
with concision, dry space and a wonderfully off-hand quality. Rudi Mahall’s bass clarinet: Wow!
—Paul de Barros
Guillermo Klein/Los Guachos, Filtros
Setting aside the popish vocals, a fairly a jaunty, varied and sometimes intriguing big band set here with fine
solos from, among others, Miguel Zenón and Chris Cheek’s juicy baritone. The reeds slip into a beguilingly
out-of-register mantra on “Miula,” and there are other flashes of tightly meshed writing spotted about, i.e.
“Vaca.”
—John McDonough
Because he makes a wide circle around the standard big band strategies, Klein’s records are disarming and
refreshing. This one’s no different, with a series of little puzzles often adding up to a big payoff. He’s always
revealing his wry humor, and the most intriguing sections are all about the details.
—Jim Macnie
An exquisitely musical program from Klein & Co. He’s able to navigate between all sorts of different genres
and various settings from plain and simple to wildly complex without feeling hodgepodge. The warmth of
the playing overall is impressive, from Cheek’s beautiful opening bari sax solo to Bill McHenry’s stretched
out final soprano long-tone. As deep as some of Carla Bley’s great mid-sized outings. —John Corbett
Todd Sickafoose, Tiny Resistors
John John Jim Paul
McDonough Corbett Macnie de Barros
★★★ ★★★ 1 /2 ★★★ ★★★★
★★★ 1 /2 ★★★★ 1 /2 ★★★ ★★★★
★★★ ★★★★ ★★★★ ★★★★
★★ ★★★ 1 /2 ★★★ 1 /2 ★★★
Richly varied in texture and form, Sickafoose’s multilayered compositions are full of surprises—a quirky
sound, a sudden shift, a spectral melody. The production and conception is clearly articulated, and the band
responds nicely to the changing densities and dynamics. The whole band sounds organic, the two guitars
play well off one another and Andrew Bird’s violin is especially righteous.
—John Corbett
Lots of creative ideas on this mysterious nonet journey, and some cool sounds, both acoustic and electronic,
but what is it, exactly Bill Frisell Bley Moire Music And where’s it going I like the sad textures of “Pianos
Of The 9th Ward,” though, and “Paper Trombones” is cute.
—Paul de Barros
Though a bassist, Sickafoose depends largely on slithering Frisellian guitar lines for his music’s identity. But
the horns figure prominently, too, bringing almost a big-band feel to the title cut. Alan Ferber’s muted trombone
is charmingly Ellingtonish on two cuts. But as a jazz work, this resides in fairly distant exurban territory.
—John McDonough
September 2008 DOWNBEAT 75