Double bass master Mark Dresser is visionary explorer of the bass, a profound
but playful composer and a sharp commentator on the dark, current times,
all at once and much more. Ain't Nothing But a Cyber Coup & You is the
sophomore album of the Dresser Seven, following Sedimental You (Clean Feed,
2016), and features himself accompanied by the same lineup of long-time
comrades - flutist Nicole Mitchell, reeds player Marty Ehrlich, trombonist
Michael Dessen, pianist Joshua White, drummer Jim Black, and new addition,
violinist Keir GoGwilt.
The visionary side of Dresser is distilled this time into five, brief solo
bass improvisations aimed at expanding the timbral range and
vocabulary of the bass, often sounding like an alien woodwind instrument.
These pieces are performed on a unique bass adaption, invented by Dresser’s
friend, luthier and fellow bass player Kent McLagan - The McLagan Tines - a
set of seven graduated steel rods attached to a secondary bridge that
touches the bass bridge, activating the resonant cavity of the bass.
Dresser notes that his new compositions embrace jazz tradition in a more
direct manner than in the past, especially their energy and captivating
melodies. He reflects on the seminal influence of Charles Mingus as
as bass player-composer-bandleader who engaged with similar dystopian political landscapes from a place of hope and positive potential. And the
spirit of Mingus does fuse the opening, propulsive piece, “Black Arthur’s
Bounce”, dedicated to the memory of alto saxophonist and composer Arthur
Blythe. More than forty years ago Dresser played with Blythe in the Los
Angeles-based Black Music Infinity band, along with Bobby Bradford, James
Newton and David Murray. Later Ehrlich also played with Blythe when Ehrlich
arrived in New York. Erlich’s alto sax invokes the instantly identifiable
tone and energy of Blythe, while the Seven builds strong, layered rhythmic
patterns. The second Mingus-ian piece, the title-piece, is Dresser’s
attempt to give “acerbic levity to our national reality-horror-show of
corruption, malice, xenophobia and class warfare”. This song-like piece
flows with irresistible, uplifting energy and offers great solos of
Mitchell, White and Ehrlich on the clarinet.
Two pieces offer Dresser’s innovative, compositional ideas and address
purely musical agendas. “Gloaming” is Dresser’s fourth piece that
investigates the waltz form, using multiple levels of polyrhythm that expand and contract within shifting meters. This lyrical pieces highlights the expressive, contemplative bass solo from Dresser, which corresponds with
like-minded solos of Dessen and GoGwilt. "Embodied in Seoul” was conceived
originally for the 2018 telematic concert Interconnections For Peace
between ensembles in New York City, San Diego, and Seoul, now rearranged
again for the Seven and enables it to improvise on the fleeting melodic
theme but eventually erupts as a harmolodic whole, with powerful rhythmic
Black and Dresser himself.
“Let Them Eat Paper Towels” is inspired by the headline from New York Times
column by economist Paul Krugman, written in response to President Trump’s
visit to Puerto Rico after Hurricane Maria. Its bass line abstracts the
melody of “Que Bonita Bandera”, the unofficial national anthem of Puerto
Rico, but sets the melodic core in a totally different atmosphere. The
dark, melancholic and occasionally even chaotic tone reflects the tragic
situation of this poor American territory. The last piece, “Butch’s Balm”,
dedicated to Dresser’s late friend, pianist Butch Lacy, deepens even
farther the emotional vein. This touching lament was inspired by a
beautiful melody “of stark simplicity and pure emotion” that Lacy played to
Dresser shortly before his death.
An inspiring celebration of provocative, cerebral fun.
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