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A look inside The Jazz Gallery

Posts by James Kogan

Photo courtesy of the artist.

Tonight, FutureFest kicks off at The Jazz Gallery with a set by the “mad-sad noise rock band” Tiny Gun. Featuring Kathryn-Agatha Lee on voice & guitar, Michael Beckett on synths, Jesse Bielenberg on bass, and Zane West on drums. The group’s raw and searing music reflects both their eclectic tastes and jazz training, striking a balance between formal complexity and emotional directness. We sat down for a conversation with Lee and Beckett, talking about the group’s development, writing process, and sonic palette.

The Jazz Gallery: Tiny Gun has been performing for a few years now. How old is the band and what is the project about?

Kathryn-Agatha Lee: We’ve been an official band for about 3 years but we were all friends and colleagues who met at The New School for Jazz and Contemporary Music. Our record coming out on October 26th is called Crazy, I Can Be, and it sort of dives into a toxic relationship throughout stages of denial—trying fit a form, self-hatred and rage. [laughs] That writing process was sort of a way for me to lean into being called some coded words like ‘crazy, sensitive, demanding, or damaged’ and have it be this radical reclaiming of agency that gets taken away from you when you’re being belittled. Like, maybe I’m not ‘sensitive,’ maybe you’re just an asshole?

TJG: The band is described as a “mad-sad noise rock band.” Did you listen to lots of heavy music growing up and what are the things that draw you to it?

KL: I listened to a lot of metal and shreddy guitar music growing up! I came around to it when I was a teenager as sort of the next extension that tacked onto my emo music phase. I think I liked it because I was always so fucking angry. Now I still love heavy music mostly because I find music with lots of sections and strange forms to be really interesting, which is something that definitely finds its way into my songwriting.

Michael Beckett: Tiny Gun really started to become Tiny Gun when we embraced the music we grew up with. Going back to heavy/emo music that bares its heart on its sleeve gave us a place to be emotional and messy from. It allowed in a part of ourselves that wasn’t finding a way out through other music.

TJG: Which of those bands have stuck with you? Where is your taste and interest going these days?

KL: I still love Fall of Troy, Animals as Leaders, Periphery, Veil of Maya, and also, I love really fucking sad songs. These days I’m really into Palm, Tera Melos, Great Time, Tricot, Buke and Gase, Deerhoof, Andy Shauf, altopalo, Covet, Gregory and the Hawk…

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With FutureFest coming to The Jazz Gallery this weekend, we at Jazz Speaks are continuing our series of conversations with some of the festival’s featured artists. Today, we have a conversation with festival curators Alfredo Colon & Edward Gavitt on the band Secret Mall, and Abdulrahman Amer of Ba Akhu, discussing the origins and motivations behind the festival.

The Jazz Gallery: Tell me about the genesis of this festival.

Alfredo Colon: I think it started with us trying to set up a double bill with our friends and then we were like, “Yo, we should actually get a third band!”. And then we were like, “Yo, what if we get more bands?” And at some point Ed was just like, “We might as well just make a festival at this point.”

Edward Gavitt: The thing is, Secret Mall as a band, first of all, is just a band based in excess. We like to do excessive things. Nothing illegal or nothing bad. Like, just…

Abdulrahman Amer: [interrupting] Yeah, you can’t do that.

EG: Yeah, yeah. You can’t do that.

AC: [laughs]

EG: So when the idea came of doing a double bill, let’s get it as far as we can. Let’s get away with as much as we can get away with. [laughs] Basically. So we all came to the idea of a festival, a couple bills, a bunch of bands. Although at this point, the final version of this festival came through as a bunch of bands that have played here [at the Jazz Gallery] and some that haven’t, we really wanted to bring forward people that haven’t had an opportunity to play here, whether it based on the curation or based on just they haven’t even thought about thinking to play here. A couple of people that we asked couldn’t do it, and a couple people ended up just not feeling right for the bands we had already confirmed. We tried to curate a certain vibe as well, you know what I mean?

Sasha [Berliner Quartet], Rocky’s band [BA AKHU], us, and Adam [O’Farrill and Gabe Schneider] have all played here. But Blake [Opper’s Questionable Solution] and Tiny Gun haven’t played here yet. We hope to bring more groups in the future and see if we can keep this going.

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Photo by Amy Touchette

This Saturday, August 11, drummer Tomas Fujiwara and his group Triple Double return to The Jazz Gallery for two sets of music. Featuring brass players Taylor Ho Bynum and Ralph Alessi; guitarists Mary Halvorson and Brandon Seabrook; as well as drummer Gerald Cleaver, the band has cut its teeth on the Gallery stage—they performed here before recording their debut record in 2016, and returned to celebrate the album’s release in 2017. Before their return to the Gallery this weekend, we caught up with Fujiwara to talk about the group’s methods of improvisational interaction, the process of recording their album, and the incredible mentorship of drummer Alan Dawson.

TJG: In the press release for the record, it states that “while these collaborative efforts could define and sustain him, a more ambitious musical intelligence emerges on closer inspection.” What does this mean?

TF: I think part of what was meant here was that, especially as a drummer, you’re very much pigeonholed into being a side-person. Sometimes, especially as it relates to getting your music supported and out into the world and getting opportunities to perform your music live, it’s a little harder than if you played a different instrument. I’ve been so fortunate to be involved with great musicians in their bands and projects as leaders—something I love doing and have no desire to do less off—as well as a number of collective ensembles, that those things could be enough to “define and sustain” me. I certainly don’t want to stop any of that activity, but for me, and certainly other drummers, I’ve made a conscious decision to step out as a bandleader and composer as well. That’s probably what the “more ambitious” part is. For anyone, taking a leadership role is a big challenge and requires a lot from the individual.

TJG: You’ve been playing with the individual members of Triple Double in a variety of arrangements for a long time. How did the Triple Double project arise and come into fruition? When did you first start working on its songbook?

TF: I have a trio with Ralph [Alessi] and Brandon [Seabrook] that I had put together a year before Triple Double. I was really enjoying the gigs we had done, and we made a live record (Variable Bets on Relative Pitch Records). With most of the ensembles I’ve led, from The Hook Up to the trio with Ralph and Brandon, one of my main interests has been new combinations of musicians. In the case of Ralph and Brandon, they had never played together before. There were members of the original Hook Up that had never played together before. So that was one idea behind Triple Double—these new combinations of people that I felt could work and that I was curious to hear how they would interact. Because I think that musicians, artists in general, are put into categories way more than they would actually like to be, and they have more diverse aesthetics than they’re given credit for. I know for myself, I love to get thrown into unusual situations, or situations where it’s not quite my comfort zone, or the usual cast of characters I might be playing with at that time.

So that was one thing behind it—taking the trio and thinking about it as a template for new combinations. Then, being a drummer, I’ve always loved the drums but also the sound of multiple percussion ensembles, whether it be two drum sets or drum set and any number of percussion instruments from around the world. I love the vibraphone, the marimba, etc. The album that first got me interested in drums was Rich Versus Roach, which isn’t quite a double drum album but a conversation between two drummers and their bands. Years ago, I toured with Stomp, which was essentially an eight person percussion ensemble, and it could be really fun when everything was really in sync and everyone was communicating and forming this unified voice. So that’s something that I’ve always been interested in doing something with two drums but, also, something with Gerald [Cleaver] specifically, who is one of my absolute favorites, and wanting to get in there and have a musical dialogue with him. With Taylor [Ho Bynum] and Mary [Halvorson], two musicians who I’ve played with and known the longest, we have so much history and such a rapport from all of the music we’ve played in various ensembles—I wanted to include them as well. It was really more about the personalities and a sonic idea, and then it took shape into these three duos, or two trios, and this mirroring effect in terms of the instrumentation. Taylor and Ralph had never played together, me and Gerald had never played together, so there were also a lot of first times, which was cool—to see those relationships develop over time within this group.

TJG: Where was the album recorded?

TF: Firehouse 12 in New Haven, CT.

TJG: The whole thing in a live room, everyone together?

TF: We had the drums and guitars in one room, and each trumpet/cornet isolated.

TJG: The reason I ask is because one of the things I really love about the record, and there are so many moments where one can hear this, is that the trios seem to be split symmetrically between the left and right channels. Especially on a track like the opening one, “Diving For Quarters,” one hears the interaction spatialized very clearly, with Mary Halvorson consistently on the left and Brandon Seabrook consistently on the right.

TF: Well, the credit for that goes to Nick Lloyd. It’s his label and studio, and he engineered the session, as well as mixed and mastered the album. He just knows the room and the board and the equipment so well, has an amazing ear and is great to work with. We certainly talked about the sound for the album but the majority of the credit goes to him in terms of getting these great sounds and really figuring out how we wanted these 6 musicians to exist in the space. In terms of the drums, we talked a lot about the sound, and it was about wanting to find that balance between these two distinctive drummers, but then also creating a kind of eight-limbed drummer, and I feel like he achieved that very well. Sonically, he gets the credit and did an amazing job.

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Photo courtesy of Pi Recordings.

Guitarist Brandon Ross and bassist Stomu Takeishi have been playing together for over two decades, first as members of Henry Threadgill’s band, then as an intimate duo, beginning in the year 2000. Honing their interplay over many years, the pair released their debut studio album in 2014, Revealing Essence, originally composed with a Chamber Music America New Jazz Works grant.

This Thursday, July 19, the duo returns to The Jazz Gallery for two sets. We caught up with Brandon by phone and email to talk about the duo’s history and his own evolving relationship to sound.

The Jazz Gallery: What is it like to have such a longstanding musical partnership with someone developing into such a personal, intimate practice?

BR: I think it’s an interesting thing. I mean, longevity in this respect is something you can’t know about till you know about it—until it happens. In that way, it’s one of these really wonderful surprises. We constantly refer to that period, that band—Make A Move—when we were in it, because it was such a pivotal moment for Henry [Threadgill] in his writing, and in his ensemble selection. He went from having bands that always had at least multiple horns in it and multiple strings to a band that had a form of keyboard, with the harmonium and accordion, and then one string, and then bass—electric bass, first of all—and drum set, and himself on winds. And then it was also the beginning, during the Make A Move era, of his evolving his compositional approach into the current intervallic system that he’s been developing for the last twenty, almost twenty years now. It was a seminal period for us—Tony Caesar, Jake Lewis, Stomu and myself—being involved in that.

And so Stomu and I have that as a reference point in terms of musical dynamics, musical language. What we have been able to distill from that experience at that time, and evolve and mature in the duo relationship that we have. Although, you know, the duo relationship was already present when I heard him play and I recognized him as someone that I would like to play music with, and I happened to do that in the context of Henry’s band—cause, y’know, Henry asked me to keep my eyes out for a bass player and a drummer. So that was J.T. and Stomu, so ultimately, in a way, was a band that I had yet to realize but wound up becoming so. And I guess the longevity of the language that we share and that we developed is something that is has a lot to do with the instruments that we’re playing—Steve Klein-designed instruments. They have such a particular character of sound production and the way they interact with one another – we just want to hear them! In the writing that we do, I just want to hear the instruments [laughs].

TJG: You’ve made note of how the compositions focus on balancing the weight of the two instruments, with Stomu on acoustic bass and you on either acoustic guitar, soprano guitar, or banjo.

BR: It’s a common compositional practice: you begin with a sound of some kind. Certain instruments, certain sounds send the imagination and the creative impulse in a particular direction as a response to it. That’s an interesting thing. This last set of music that I’ve written for us, for the Chamber Music America New Jazz Works grant that I got, and I incidentally happened to be playing a lot of nylon string guitar, and most of that music came out of that—being on the nylon string guitar. Stomu and I did a concert last weekend at the Guild Hall in Easthampton where we played a couple of those pieces. I was playing the steel string guitar and I really noticed how they felt very differently from being played on the nylon, and I was like, right, these are choices and musical circumstances and situations that came about as a result of that.

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Photo courtesy of the artist.

This Tuesday, April 24, saxophonist Ingrid Laubrock and her group Anti House 4 return to The Jazz Gallery for two sets. Since arriving in New York, Laubrock has become an integral member of a free-thinking, collaborative community of improvisers, including Mary Halvorson, Kris Davis, Tom Rainey, and many others. Before setting off on a European tour, Laubrock and company will convene at the Gallery to stretch out their musical materials in new directions. We caught up with Laubrock to talk about the development of her recent projects, and what’s happened when she’s played her music for young children.

The Jazz Gallery: You’ve lived a life with an inspiring amount of globetrotting, from your childhood in Germany, a significant portion of adulthood in London (with lots of virtual traveling to Brazil and Cuba), with your most recent tenure here in New York.

Ingrid Laubrock: I played Cuban music when I was in London but I’ve never been there. I have been to Brazil quite a lot, not only virtually but also physically. Mostly in Sao Paolo and Rio de Janeiro, a little bit to Bahia, as well as some time in Belo Horizonte.

TJG: Do you ever reflect on the differences between these cities and if they have any bearing on your musical processes?

IL: Yes, I definitely think so. I grew up in the countryside so there wasn’t much information around at all. I was really raised around nature and animals. But I think that even that aspect is part of my music, having had lots of space and lots of silence and listening to natural sounds— I’m sure that filters in somewhere. I still have this urge to be in silence, in nature, and I need a fix of that every year. And it’s beyond a vacation. It’s just really wanting to be in a forest, or at the sea, and just having space and relative silence.

I would say London was my probably my formation. I started playing there, I learned so much from so many different types of musicians and from folks, and it has a very dedicated improvising scene, which had some great players that taught me a lot of things. But really, across the board—I learned a lot of things from either musicians my own age, where we explored compositions and music together, or from people who are older and showed me things, or concerts I attended. And New York is a whole other kettle of fish. The pool of musicians is so wide here, everybody does very cool things, and, y’know, it kicks your ass in a way.

Since I’ve been here, what has happened to me is that I write a lot more. I already was going that way in London towards the end. I had a steadier rhythm in London—I just didn’t travel as far much—but here, I’m sometimes super busy, I’m away, on the road. But then there are moments when I really have a chunk of time to fill, which I love to use for writing, and not trying to fill everything up with gigs or sessions like I used to do in London.

TJG: Is there a discrepancy between the soundscapes of New York and London?

IL: Yeah, I think so. Yesterday, I had this concert in SoHo and I was grabbing a bite to eat and sitting outside this bodega by the entrance of the Holland Tunnel. And the light went green and there was immediately this ridiculous concert of honking. It was just so incessant, and went on till the lights changed again and became red. You know, it’s basically a traffic jam and people are frustrated. That kind of stuff is so much more intense here than in London. Everything is louder here. There is so much traffic in London but traffic is slow, and less honking. It’s just not such a thing, more politeness between drivers. Also, I live in a neighborhood where buildings are constantly going up—it’s just mushrooming! And I never lived in a neighborhood like that in London. London has many more two story houses, and most of the houses have a yard. Even if you pay a low rent, it’s just the nature of the town. You have a little buffer between houses, there’s a quiet space in between. And here, it’s just so much denser. So yeah, the sounds are definitely different. There are also huge parks in London, so in general just more green and more silence.

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