The Bad Plus Joshua Redman [review]
Original music. I come back to it over and over again. And again. It's indefinable. It exists as a nebulous haze within our sonic perception. Not everybody understands truly original music which is why the most original bands aren't always the most popular ones. Those artists, however, are what propels us forward, ushering in new eras of music, fresh styles of play and advanced dynamics to which younger generations will seek to master.
Enter The Bad Plus (we'll get to Joshua Redman in a second). The Bad Plus ooze originality from every pore until the air is thick with frenetic yet supremely controlled rhythm, elegant piano coupled with grit and tumult, and steady precision bass that all simmer together to fashion some truly delicious sounds. They're certainly a band worth checking out and have a lot to teach a listener about composition, communication and mastery over instrument.
The Bad Plus Joshua Redman won't be for everyone, however, as inordinately original music dictates. First of all, it's jazz – some people won't be able to get beyond that very fact (which truly is a shame). The freedom the band employs may be a detriment to those looking to dance the night away. Their musicianship may be, well... too complex at times to comprehend and thus, to truly appreciate. I mean, a lot is going on between the quartet when they play their brand of music.
All photo credits: Karly Goertzen
And as such, The Bad Plus Joshua Redman brought their brand of music with full force when they visited the Boulder Theater on Wednesday, December 2nd. Opening up the set was fan-favorite "1979 Semifinalist" from their 2004 Give album. A relaxed groove with strong melody, it immediately seduced the crowd into the night. From the quiet reserve of the opening song came "Faith Through Error," frantically rising and falling, spinning 'round your head at break-neck pace, the be-bop inspired freedom rose the collective adrenaline of the room. The rugged figure of the band, Dave King's chops shined throughout the song and peaked as the rest of the group gave way to a drum solo that ended with perfectly executed hits – out of a strict rhythmic timing – between King and pianist Ethan Iverson as bass and saxophone melded together into a gentle, harmonious finish.
It is at this point that I noticed an incredibly attentive and respectful crowd. The patrons of the 850-capacity room (who were largely seated) allowed each and every note to be not just heard, but understood. Each note has exquisite purpose in a band such as this, and the audience seemed to comprehend the significance. The nuance in the room was unparalleled. A pin could be heard dropped in the entryway. I find beauty in this alone.
The third song, "As This Moment Slips Away", brought an enigmatic quality, an eeriness that manifested vivid and conscious hallucinations of pain, loneliness and despair. Projected in mind was a man distraught, driving an empty road of darkness save for the occasional streetlight scanning briefly the car's interior. Tears well in his eyes but he is determined not to let one fall. Instead, he drives through a liquid haze contemplating his decisions and his destination. Unfortunately for our antihero, the song's resolution does not instill much hope (fade to black..).
Next up was Joshua Redman's "The Mending", commencing with unaccompanied piano. Drums and bass would softly join before Redman took lead on a wild melodic ride that seemed to yearn. For what? I do not know. You may have to ask Joshua Redman.
Bringing the respite to a close was the classic Bad Plus tune "Big Eater" from their 2003 effort These Are The Vistas, an album NPR's All Songs Considered selected as one of the 50 most important recordings of the decade. Big Eater sort of messes with your head with its unique time and phrasing, chasing back and forth unto itself.
"Lack The Faith But Not The Wine" was a return to the softer side, the mood reminiscent of a cold night in front of the fire, glass of whiskey in hand, accompanied by a frail woman with a vulnerable heart. Reid Anderson showcased his upright bass skills with aplomb as each note told a familiar story.
Up the energy with "County Seat", a song the band describes as "exploring the avant-garde side of county government". Fingers are flyin' all over the place on this one as the mayhem does indeed bring about a feeling of disarray. Luckily, the band only provides the illusion of disarray – unlike most governmental procedures. This is a tune that proves that The Bad Plus are in fine tune with one another. Further proof came in the final two songs, placed beautifully in the set to provide a feeling of utter culmination. A renegade nostalgia, "Dirty Blonde" brought tempers blissfully flaring as the yearning returned to create a perfect ending to a perfect concert for this contributor on a Wednesday night.