SETLIST (click to listen/download)
1) Lizard Brain
Solo: Josh Sinton, baritone sax
2) Induction Effect
Solo: André Canniere, trumpet
3) Drift
Solo: Mark Small, tenor sax
4) Transit
Solo: Shane Endsley, trumpet
5) Chrysalis
Solo: Erica vonKleist, alto flute and soprano sax
6) Phobos
Solos: Jon Wikan, cajon; Mark Small, tenor sax
7) Habeas Corpus
Solo: James Hirschfeld, trombone
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Incriminating evidence (by Brazilian music photographer Dani Gurgel).
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Goddamn but that was fun. And believe me, I never thought I'd say that about a gig where I found out just a few hours before the hit that one of the players was stuck in Florida airport hell (redundant, I know) and couldn't make it back to New York in time to play. Luckily, last-minute sub Marc Phaneuf -- who had never seen any of the music before -- is evidently some sort of sight-reading mutant, and so all was good.
The Industrial Jazz Group were, as predicted, more fun in a club setting at night than they were in a hotel ballroom during a Very Important Jazz Conference at noon a few days prior. And since they were still pretty goddamn fun at IAJE, that's quite the accomplishment. It no doubt helped that Andrew Durkin & co. were playing the final night of an east coast tour, in front of a hugely supportive crowd. Seriously, I have never seen the BPC that packed. Shameless gig-flogging at IAJE (from all involved) evidently really does work. Who knew?
Anyway, the IJG brought boundless reserves of energy to Andrew's infectious and witty charts, which are full of clever inside jokes but thankfully mostly snark-free -- they kid because they love. Their tunes are all great, but I'm especially partial to "Bongo Non Troppo." If you haven't heard their stuff yet, get thee to MySpace posthaste.
IJG trumpet player and blogger extraordinaire Kris Tiner has the inside scoop:
I'm interested to read what Durkin will blog about the whole thing, but I'll go ahead and venture to say that this was probably the strongest and most fun IJG gig I've ever played on. Playing this music night after night with more or less the same people is really something else. Tonight it just seemed to coalesce and flow together and fly by effortlessly.
It was truly amazing to have such a killing group hit just before we did -- their set was an inspiration for the Society to try to give it up as much as the Industrials did.
I will let you all decide whether or not we succeeded in that regard, but I'm very pleased with how things went. It was great to have Erica, Jon, and Darrell back with us, and the newly inducted co-conspirators -- Shane, Alex, Thomson, and of course Marc -- all played their asses off. Not a bad start to 2007, all things considered.
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COMPOSER, CONDUCTOR, RINGLEADER
Darcy James Argue
Sounds great as always, Darcy. Wish I could have been there. Did Jon have electronic triggers on his kit? There's an electronic wind/whistling sound on every snare hit on "Habeas Corpus," and in the rock section of "Transit." Inquiring minds want to know.
Posted by: Ryshpan | 20 January 2007 at 02:55 PM
Yeah, that.That's not deliberate or anything. The sound tech at the BPC was supposed to keep the percussion mic closed for every tune except "Phobos," but he evidently forgot, because whenever Jon starts to hit the kit hard, the cajon behind him starts to vibrate. Since it's hooked up to delay and wah pedals, the processed sound goes out through the PA and that's what you hear. I don't think it was too bad in the house -- at least, nobody mentioned it, and I couldn't hear it at all from where I was standing -- but for whatever reason, my mics seemed to zero in on it and it's really prominent on the recording.
Posted by: DJA | 20 January 2007 at 11:52 PM
Heh. The vagaries of live recording, right? It works in the tunes, though. It reminded me of the filter-swept opening to Hollenbeck's "Just Like Him" on the Graz recording.
Posted by: Ryshpan | 21 January 2007 at 02:02 AM