Travels - Downbeat

SexmobCinema, Circus &SpaghettiThe Royal Potato Family 1304HHHHMood is a central concern of slidetrumpeter Steven Bernstein. To hisquartet Sexmob, for instance, a boisterous,celebratory vibe is seeminglyas important as any purely musicaldetail. So it makes sense thatBernstein is into film music, and that Cinema, Circus & Spaghetti, whicharranges Federico Fellini composer Nino Rota’s music for Sexmob, ishardly the brass player’s first tribute to an agent of atmosphere. The spiritof New Orleans looms large on “Volpina (Amacord).” That tune includesa persistent second-line groove headed up by Wollesen, not to mention atheme that, in one place, friskily recalls “Down By The Riverside.” And“La Dolce Vita” also swings down to the Crescent City, due mainly to thesweet and greasy interplay between Bernstein’s singing hybrid trumpetand saxophonist Briggan Krauss’ tough bari. Punk-rock makes its presencefelt, too. The last 40 seconds or so of the aforementioned “Volpina(Amacord)” toss a throbbing bass riff and bashing drums underneathKrauss’ maniacal, animalistic wailing. The crazed surf beat of “NadiaGray (La Dolce Vita)” is abused by squealing horns and a clobberingdrum solo. —Brad FarbermanCinema, Circus & Spaghetti: Amacord; Il Teatrino Delle Suore (Juliet Of The Spirits); La Strada;Volpina (Amacord); Paparazzo (La Dolce Vita); Toby Dammit’s Last Act (Spirits Of The Dead); La DolceVita; Zamparo (La Strada); Nadia Gray (La Dolce Vita); The Grand Hotel (Amacord); Gelsomina (LaStrada); I Vitelloni. (62:37)Personnel: Steven Bernstein, slide trumpet, hybrid trumpet, alto horn; Briggan Krauss, alto saxophone,baritone saxophone; Tony Scherr, electric bass; Kenny Wollesen, drums, gongs, log drum,waterphone, vibraphone.Ordering info: royalpotatofamily.comChampian FultonSings And SwingsSharp Nine 1049HHHJazz has always had the dialectictension of art vs.entertainment. There’s usuallybeen room for both, buteither can be taken to anextreme. Pianist and singerChampian Fulton is intenton knocking herself out toentertain. Her playing on “I Cover The Waterfront” can nimbly movelike Erroll Garner, yet it falls into cocktail excess. Maybe worse is thatshe sometimes sees each sung word as an opportunity for melisma. Thesongs seem to have no interest for her past what she can put on them.Fulton’s playful reading of Bud Powell’s “Celia” dances and twirlsamiably. Yet on “It’s Alright With Me,” she rifles through a mercurialright-hand solo, then sings as if trying to get it over with as fast as possible.A bright reading of “Samba De Orfeo” diagrams Fulton’s strengthsand weaknesses. Scatting throughout, she sings in unison with her pianoruns. While it’s technically impressive, by the end of the tune it smellslike shtick. Father Stephen Fulton tries to cram a whole resume into hisflugelhorn solo, overstaying his welcome. Their “Summertime” is allover the scale, with little thought to the story of the tune. Eric Alexanderbrings much-needed clarity of purpose. Though he only appears on fourtracks, he’s authoritative and cogent—using space to his advantage, andmaking it count within the space of a chorus. —Kirk SilsbeeSings And Swings: Tenderly; You’re Getting To Be A Habit; It’s Alright With Me; I’d Give A Dollar For ADime; I Cover The Waterfront; Samba De Orfeo; It’s Too Late (Baby It’s Too Late); Foolin’ Myself; I’mGonna Sit Right Down; The Shadow Of Your Smile; Celia; Summertime. (56:41)Personnel: Champian Fulton, piano, vocals; Stephen Fulton, trumpet, flugelhorn (2, 3, 6, 9); Eric Alexander,tenor saxophone (2, 3, 7, 10); Hide Tanaka, bass; Fukushi Tainaka, drums.Ordering info: sharpnine.comJUNE 2013 DOWNBEAT 69