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Wayne Krantz gig last night...


BenLoy

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I saw Wayne Krantz last night with Anthony Jackson and Cliff Almond (drums) last night at the 55 bar.

 

All I can say is :eek: !

 

Anthony, as expected, was a tour de force of taste, time, tone and technique. Fearlessly aggressive and thoughtfully sublime simultaneously. His face was amazing to watch, too. He plays with his mouth agape and his eyes wide open...his head jerking with every accent he would play.

 

At one point I noticed that none other than Robert Trujillo was hanging by the bar and watching Anthony intently, occasionally playing air bass. :D

 

Wayne Krantz himself was of course, phenomenal. He just doesn't sound like anybody else, period. He's got a totally unique conceptual approach to the instrument that I just haven't heard in other "fusion" players.

 

Cliff Almond was a great player. It must be difficult walking into the same drum chair that Kieth Carlock so utterly defined, but Almond was ably suited for the task. He was a monsterous player, full of great ideas. He didn't ignore the influence of Carlock's playing on the sound of the band (how could he, really?), but he wasn't imprisoned by that approach either. I think I would describe his playing as brighter-sounding and more hand-oriented.

 

The music itself was an incredible, organic jam that fused all three instruments together. The level of communication in Krantz's bands is always intense, and these guys were no exception. His tunes always have a "head" to them, but Krantz often buries the head in the middle, saying things like "let's start in Bb and I'll cue the head," followed by 20 minutes of mind-boggling composed-sounding interaction--in Bb. Then he would cue the head and everyone would just get knocked down. :D

 

All in all, a good evening. :thu:

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Wayne Krantz himself was of course, phenomenal. He just doesn't sound like anybody else, period. He's got a totally unique conceptual approach to the instrument that I just haven't heard in other "fusion" players.
Brian (to adoring crowd): You've got to think for yourself! You're all individuals!

 

Crowd (in unison): Yes, we're all individuals!

 

Brian: You're all different!

 

Crowd: Yes. We're all different!

 

...Single voice within crowd: I'm not...

 

...Seems like there are a lot more players who fall into the classic fusion approach these days, actually. One could easily argue the Medeski Martin Wood are fusion, that a lot of what's always coming from NYC is still as "fusion" as what was originally titled thusly, and as its original players intended. I include what's assocaited originally with Knitting Factory and Downtown and Skronk, etc - a lot of other journalistic and scene-oriented "schools" all featuring improv and wide influences.

 

When the term fusion was fist coined there were plenty of individual and unique approaches; its players were mostly people who were informed first by jazz but wanted to mix it up a bit more - and more interested in mixing electric with acoustic ... Then, copycatism and categorization by association took hold. It eventually came to the point that fusion was pretty much derided for excesses, and "soft jazz" - fuzak - or whatever you want to call it took its place for the most part.

 

But there's a lot of diversity, and it seems like NYC musicians have had a lot to do with that. No Hooray For Hollywood this time around ; }

 

- EDITED for extreme typographic obliquity -

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Anthony stuck to fingerstyle throughout the night. Occasionally he'd use three fingers instead of two.

 

He used a volume pedal as his only effect and plugged into the crazy expensive rig that C.Alexander Caber detailed in another thread.

 

He played his 6-string contrabass guitar sitting down, without a strap.

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  • 4 weeks later...

*bump*

 

I went to the same venue and saw the same performers this past Thursday night. Really intense. The audience included Joey Lauricella of Fodera Guitars (but no Robert Trujillo).

 

They are going to Japan soon to play there. If you have a chance and are in the NYC area, try to catch them before they go. (Of course, if you're in Japan, go see them there!)

 

Jackson's outstanding. His musical ideas (i.e., what he chooses to play) are creative, interactive, and magnetic to the listener. Krantz's music is really fresh and experimental. It swirls around you and pulls you in. Rhythmically adventurous.

 

AJ played his Fodera Anthony Jackson Presentation 6 w/ no knobs, just an output jack. It's a beautiful instrument. And, as Ben described already, he plays it seated without a strap.

 

Thanks, Ben, for bringing my attention to this trio. I had a blast seeing them at BP Live and then again this past Thurs. Righteous.

 

Peace.

--Dub $$

spreadluv

 

Fanboy? Why, yes! Nordstrand Pickups and Guitars.

Messiaen knew how to parlay the funk.

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