Archives for May 24, 2009

Darcy James Argue’s Secret Society, Infernal Machines (New Amsterdam). Can generations nurtured on rock and roll learn to love music by a band configured like one out of the swing era? The answer delivered in this work of imagination, daring and resourcefulness is yes. Argue’s textures, harmonies and uses of space and time place him alongside Maria Schneider, Ed Partyka and John Hollenbeck among intriguing young composer-leaders of the new century. His music incorporates funk, spunk and the brashness of punk into crafty uses of inheritances from Gil Evans, Bill Holman and Bob Brookmeyer. His band of young New Yorkers plays beautifully.

Bob Brookmeyer, Music for String Quartet and Orchestra (Challenge). Brookmeyer long since worked himself out of the compulsion to write edgy electronic music and acoustic music that sounds electronic. This gorgeous four-part work finds him in the tonal center of his composer’s art. He conducts the formidable Metropole Orchestra and the Gustav Klimt String Quartet in a suite that melds the rhythmic sensibility of Brookmeyer’s jazz mastery with his uncommon depth of orchestral understanding. Its range runs from gravity to pure fun. It is not jazz. It is not classical. It is Brookmeyer.

Bobby Sanabria, Manhattan School of Music Afro-Cuban Jazz Orchestra, Kenya Revisited Live! (Jazzheads). Percussionist, leader and Latin music maven Sanabria puts the MSM band through the exhilirating paces of influential music recorded by Machito in 1957. Machito’s Kenya is regarded as one of the milestones of Afro-Cuban music. Sanabria and company do it justice in this tribute concert before an enthusiastic audience. Candido Camero, who was on the 1957 album, is a guest on congas. On “Oyeme,” alto saxophonist Vince Neto does a nice job in the slot originally filled by Cannonball Adderley.”

Lenny Breau & Brad Terry Live at the Maine Festival (Art of Life). The genius guitarist and one of Breau’s favorite duet partners, clarinetist and whistler Terry, are on camera for “Emily” and “Autumn Leaves” in a 1980 concert. They are heard but not seen for “Limehouse Blues” and “Make Someone Happy.” The video quality is subaqueous, but clear enough for you to detect their enjoyment. The sound is okay in the video, excellent in the audio-only portions. The playing is inspired throughout. Bonus features include an interview with Terry and a complete Breau discography.

Ron Forbes-Roberts, One Long Tune: The Life And Music Of Lenny Breau (North Texas). Many guitarists consider Breau the world’s greatest player of the instrument. In his short life, he left plenty of recorded confirmation that the claim might be true. Forbes-Roberts, himself a guitarist, traces Breau from his beginning as a child phenomenon to a senseless death in his early forties. He does a first-rate job of melding musical substance with Breau’s astonishing story.