Tag: Jacam Manricks

Great Album, Bad Name
July 8, 2010
http://lucidculture.wordpress.com

Trigonometry. Just the word alone makes you shake your head. Seriously – how many of you remember any of that stuff? That’s the title of composer/alto saxophonist Jacam Manricks’ new album – and you mustn’t let it scare you off. Manricks vaulted into the uppermost echelon of jazz composers with his lushly orchestrated big band masterpiece, Labyrinth, last year. This one reduces the forty-piece orchestra to just a sextet, with hardly any loss of volume, trading sweep and majesty for melody, terseness and a jazz vibe that’s considerably more classic than classical. In addition to new compositions, there are three intriguingly rearranged cuts from Labyrinth here, along with an imperturbably fluttering cover of Eric Dolphy’s Miss Ann. Manricks – who steps out much more here than he did on Labyrinth, with great success – joins a cast that includes pianist Gary Versace, bassist Joe Martin, drummer Obed Calvaire, trombonist Alan Ferber and trumpeter Scott Wendholt.

The title track takes a funky late 70s Weather Report style riff and makes it purist and retro, Manricks buoyant against Calvaire’s aggression, then more expansive later on. The tongue-in-cheek Cluster Funk builds from similar riffage to a modally-charged simmer, Wenholdt and then Manricks bracingly warping in and out. Slippery, the third track, is a swing number: the sax pushes against the blues, against terse block chords from Versace, and the blues push back. And finally Manricks lets them in

Nucleus makes a big beautiful golden-age style ensemble piece out of a vivid latin-tinged melody a la late 50s Miles, followed by the pulsing, shapeshifting, aptly titled Sketch. The best song on the album, Mood Swing is a deliciously ominous, modal nocturne with masterful touches from Versace at the uppermost registers, echoed at the opposite end from Calvaire against distantly menacing sax. Versace really takes hold and owns this one, from his glimmery, insistent, deceptive chordal work (very Neil Shah-style), to an expressionistic solo. The stripped-down version of Labyrinth here shares that same eerie prismatic glow, Versace’s ultraviolet ambience again the highlight. Of the two final Labyrinthine tunes, Combat downplays the heavy Ravel influence of the orchestrated version in favor of wistful bluesy tints; Micro-Gravity, on the other hand, reaches for the Catalan majesty of the original and hits a bullseye. Yet another great new album from the Posi-Tone label. Manricks plays the cd release show on July 30 at the Cornelia St. Cafe at 10:30 PM.

by Tim Niland

The California based Posi-Tone Records label is acquiring for itself a reputation for incubating young mainstream jazz talent. Jacam Manricks is a new addition to their lineup, he has a has a nice and individual tone on the alto saxophone, a light and floating texture that makes a marked contrast to the more pinched and citrus feel favored my many other alto players. On this album he is performing with Gary Versace on piano, Joe Martin on bass and Obed Calvaire on drums with Alan Ferber on trombone and Scott Wendholt on trumpet sitting in on a few tracks. Most of the tracks on this album are original compositions with the exception of a very nice reading of Eric Dolphy’s “Miss Ann” that places Manricks’ light an nimble saxophone in open space, supported by just bass and drums. His tone and attack as an instrumentalist is far removed from Dolphy’s, and his milder texture brings a new perspective to a familiar song. There’s space for a lengthy bass solo and Martin responds with a thick, strong turn soloing deftly supported by light percussion. “Sketch” is a successful quartet track, with Manricks taking on a more urgent tone, and supported by nicely textured piano and drums. “Mood Swing” slows the pace down, taking on a moody and atmospheric air. Piano probes gently up to a break, until the saxophone takes over picking up the pace slightly to a dynamic finish. The band’s patient and subtle style of music works quite well, and should make their music accessible to mainstream jazz fans. That’s not to say they lack verility, the Dolphy cover shows that they can play in a gutsy and progressive fashion as well. But it is the slow burn that appeals to them, and fans of subtle saxophone by the likes of Mark Turner or Chris Cheek will find a lot to enjoy here.

by Bruce Lindsay

Jacám Manricks is a rich-toned saxophonist and composer with a growing body of original tunes—Trigonometry appears hot on the heels of the self-released Labyrinth (Manricks Music Records, 2009). The New York based musician has allied himself to a strong ensemble of players who happily take on the challenge of Manricks’ compositions and invest them with some terrifically enthusiastic playing. The result is a bop-inspired album that can readily surprise and delight.

The album begins emphatically on “Trigonometry” with the drums of Obed Calvaire, followed soon after by Gary Versace on piano and Joe Martin on bass. It’s a fitting opening as these three players are uniformly excellent throughout—Calvaire in particular displays invention but also a great ability to interact with the front line.

“Cluster Funk” is indeed funky, with Versace’s chunky piano chords and tight ensemble playing from the horn section, including trombonist Alan Ferber, driving the tune along with suitable urgency into a strong, slightly frenetic, solo from guest trumpeter Scott Wendholt. In contrast, “Mood Swing” is a more contemplative and slightly mysterious tune that features atmospheric solos from Versace and Manricks while “Labyrinth” finds the album’s core quartet delivering a more complex tune with some inventive variations in rhythm and tempo. “Micro Gravity” has the most improvised feel of any of the tunes here—a flowing, reflective, piece that showcases Manricks and the rhythm section at their most innovative.

Eric Dolphy’s “Miss Ann” is the album’s only non-original tune. Manricks, Martin and Calvaire show their strength as a trio on this tune—Manricks’ sax playing is exceptional here, as is the interplay between Manricks and Calvaire which is held together by Martin’s rock solid bass before he gets the chance to take his own solo. It’s an excellent choice for the album—Manricks’ fine arrangement is beautifully played and blends well with his own original compositions. Trigonometry establishes Manricks as a writer and player of note.

Track listing: Trigonometry; Cluster Funk; Slippery; Nucleus; Miss Ann; Sketch; Mood Swing; Labyrinth; Combat; Micro Gravity.

Personnel: Jacám Manricks: saxophones; Gary Versace: piano; Joe Martin: bass; Obed Calvaire: drums; Alan Ferber: trombone; Scott Wendholt: trumpet.

By Mark Corroto

There is a snap to the music of saxophonist Jacám Manricks’ music that calls to mind the invention of bebop with it’s fidgety energy. Without looking backwards, this recording re-invents that atmosphere of bop animation.

After self-releasing Labyrinth (2009), he returns with a stellar cast of players that includes his quartet of Gary Versace (piano), Joe Martin (bass), and Obed Calvaire (drums). Sitting in as guests on several tracks are trombonist Alan Ferber and Scott Wendholt on trumpet.

Manricks’ alto recalls that of Greg Osby and the title Trigonometry explains the sometimes precise intersections his compositions meet. This is snappy and succinct music with particular direction as demonstrated on the title track. The band negotiates the tunes, but not without a certain swing that pleases. Manricks enjoys a rapport with pianist Versace that is both of like-mindedness and foil. They match wits on the tight and twisty tune “Slippery” and butt heads on the skittery track “Sketch” that jumps around in a Thelonious Monk-like fashion.

When the quartet is joined by guests Wendholt and Ferber, Manricks’ compositions expand into broad harmonies. The overtly smelly “Cluster Funk” recalls some 1960’s chittlin’ circuit sound updated to a Brooklyn hipsters chant.

The only track not composed by Manricks is Eric Dolphy’s “Miss Ann” which he plays in a bass/drums trio. Shaved to the bone, he displays his flawless technique addressing the track with a fluid manner.

Track listing: Trigonometry; Cluster Funk; Slippery; Nucleus; Miss Ann; Sketch; Mood Swing; Labyrinth; Combat; Micro Gravity.

Personnel: Jacám Manricks: alto saxophone; Gary Versace: piano; Joe Martin: bass; Alan Ferber: trombone; Scott Wendholt: trumpet; Obed Calvaire: drums.

By Dan Bilawsky

This album, like the branch of math where it gets its names, deals with angles and relationships from different sides. Saxophonist/composer Jacám Manricks enjoys creating some rhythmic friction—using different combinations of instruments and musicians within his group—while also treating each piece like a fresh canvas, ready to be turned into high art. His pleasing and pure-toned sound is used to create a hybrid style that owes as much to classical saxophone writing and left-of-center jazz work as it does to straight ahead music.

The title track establishes Manricks as the leader—as his saxophone is front and center while elegantly gliding over the groove in seven—but up-and-coming drummer Obed Calvaire also gets to flex his musical muscles, creating a rumbling avalanche of a solo over the vamp near the close of the tune. Pianist Gary Versace throws some soulful licks into the introduction of “Cluster Funk,” and—along with Calvaire and bassist Joe Martin—establishes a churchy-meets-quirky funk groove in seven. Trumpeter Scott Wendholt is right with the rhythm section in terms of mood and direction but Manricks follows him and—with a snake charmer statement at the top of his solo—indicates that he’ll be going in another direction.

“Nucleus” begins with some interlocking phrases from various members of the ensemble and a luxuriant blend between the different instrumental voices in the group. Fresh harmonies and a unique writing style—rather than a strong melodic core—move this intriguing piece forward. While Manricks’ soloing is absorbing here, the music reaches its emotional peak when Calvaire burns at the end of the track and bursts of sound come shooting out of the horns. Eric Dolphy’s “Miss Ann” is the lone cover on this album of, otherwise, original material and Manricks uses the opportunity to work within the piano-less trio format. Calvaire’s superb swing drives the song and Manricks’ sprinting saxophone work and Martin’s rhythmically charged soloing are a treat.

The awkward rhythmic gait of “Sketch” is like an aural representation of a menacing giant lurking around. The lopsided nature of the main rhythmic riff is both unsettling and extremely hip at the same time. Hushed, mournful tones escape from Manricks’ saxophone, working over a gentle piano and bass presence, on “Mood Swing.” Hypnotic, undulating eighth notes from Versace provide a cushion for Manricks before the piano enters the foreground for a loose solo excursion. An off-kilter, arcing bass riff underscores “Combat” and provides the foundation for Manricks and Versace to do some exploring. “Micro Gravity” begins with a somber, classically-infused saxophone working over a sparse piano part. Calvaire’s drums-in-the-distance marching cadence enters and a repetitive bass riff keeps things in line for a while. Versace delivers a Philip Glass-like arpeggiated line for a bit and Manricks returns with some more saxophone soul searching. Superb saxophone work, intellectually stimulating writing and ingeniously dovetailed rhythmic lines are the three sides that form the musical shape on Trigonometry.

Track listing: Trigonometry; Cluster Funk; Slippery; Nucleus; Miss Ann; Sketch; Mood Swing; Labyrinth; Combat; Micro Gravity.

Personnel: Jacam Manricks: saxophones; Gary Versace: piano; Joe Martin: bass; Obed Calvaire: drums; Alan Ferber: trombone; Scott Wendholt: trumpet.