Travels - Downbeat

indie lifeJaponize ElephantsNo ParametersBy j. poetSaxophonist/guitarist Sylvain Cartonchose Japonize Elephants as a bandname to prepare listeners for the playfulharmonic pandemonium that’s the band’sstock in trade. “Dave Gantz and I started theElephants after listening to Almanach by theFrench folk-rock band Malicorne,” Cartonsaid. “We began busking on the streets inBloomington, where I was studying musicat Indiana University. As we crashed partyafter party with our music, other friendsjoined us. The size of the group, which canrange from four to 16, made it necessary todevelop inventive arrangements. The eclecticnature of the Elephants gave me a chanceto experiment with different types of voicingsand non-standard textures.”Describing the band’s second album,Mélodie Fantastique, as “eclectic” is anunderstatement. There is a core of improvisationalmusic, but it supports a kaleidoscopeof sounds, including crazed clawhammerbanjo that’s part Old Time, part bluegrass;Mariachi horns; klezmer; surf guitar; swing;spoken word; blues; Asian tonalities; andSpaghetti western twang. “We all have differentbackgrounds,” said pianist/saxophonist Mitch Marcus. “Sylvainloves French music and bluegrass, Dina [Maccabee] plays classical andpop viola, and I was into jazz and classical, so we mixed it all together.The only parameters are that there are no parameters.”The music on Mélodie Fantastique was recorded over a five-yearperiod. “Because band members were spread between San Francisco,New York, Indiana and Colorado, we recorded this album ourselves, givingus more flexibility and freedom in the process,” Carton explained.“We strayed from our original idea of recording live in one room to bemore experimental. I set up a home studio so we could track the entirerhythm section plus one melody instrument at once.”During the process, tragedy struck. Bassist Evan Farrell died in ahouse fire in 2007, so the project was postponed. When the band decidedthat Mélodie Fantastique would pay tribute to Farrell—a musicianof diverse talents who also performed with Rogue Wave and MagnoliaElectric Co.—it changed the significance of the music. “We recorded inour living rooms, bedrooms, closets, stairwells, hallways, kitchens and aballet studio,” Carton said. “It was more like a good hang than a studiosession and was a great way to remember and honor Evan. Not one sessionwent by without funny stories and fond memories of him.”Maccabee, who sings and plays fiddle and viola, agrees. “[JaponizeElephants] are as much a community as a band,” she said. “We all play avariety of styles, and rehearsals are a good excuse to hang out.”Mélodie Fantastique has 20 tracks that nod to the 20 players whohave drifted through the band’s ranks since 1994. To complete the project,the group launched a Kickstarter campaign, raising enough to hire apublicist and cover mixing, mastering and CD and LP production. “Likeeveryone in the digital age, we maintain a website, a Facebook page, amailing list and do the Twitter thing occasionally,” Carton said.Japonize ElephantsCarton has become adept at describing the band’s sound and evolution:“Our music has a hard-core driving rhythmic underbelly with floridFar Eastern cinematic melodies winding around bacon- and whiskeyfueledsongs. After moving to San Francisco, even more people joinedthe band. Eventually, half the people moved to New York, so we nowhave an East Coast band and a West Coast band, but when we can geteveryone together at once, it’s fantastic.”All the members earn a living through music, whether it’s by doingsession work, teaching or playing in multiple bands. Carton performswith his own quartet, dedicated to creating sonic environments forimprovisations; Space Blaster, a surf-metal combo that lets him wail onelectric guitar; and the Mitch Marcus Quintet, which plays “outside”jazz. He’s also active in Carolyna Picknick, a group he started withMaccabee that veers between French café tunes, klezmer, gypsy jazzand tango. As a sideman in Beats Antique, a world music outfit, he playsclarinet and baritone saxophone through an array of pedals and effects.“The biggest, most powerful sound I’ve ever made on any instrument isusing the bari with an octave pedal and some distortion,” he said.Marcus believes Carton is breaking new musical ground: “Using acustom-made mic and pedals, he takes the sounds of the sax into newterritory. At times, you don’t even realize it’s a saxophone.”Carton also works as an endorser and artistic advisor for Vandoren.“I help clarinetists and saxophonists find mouthpiece, reed and ligaturecombinations that allow them to get the most out of their sound andplaying experience,” he said. “I never limit myself to one kind of music.I’ve played and toured with jazz, indie rock, Afro-beat and electronicbands. As long as you like the people you’re with—and the music you’remaking—then you’re headed in the right direction. It’s still a tough wayto make a living, so you’d better at least be enjoying it.” DB54 DOWNBEAT JUNE 2013