Jazz
The Microscopic Septet
John Zorn (saxophone); Phillip Johnston (soprano saxophone); Don Davis (alto saxophone); Danny Nigro, Paul Shapiro, John Hagen (tenor saxophone); Dave Sewelson (baritone saxophone); David Hofstra (tuba, bass instrument); Joel Forrester (piano); Richard Dworkin (drums)
Active for a dozen years, the Microscopic Septet were widely recognized as "New York's Most Famous Unknown Band." The group started with a basic reeds-and-rhythm texture (soprano, alto, tenor and baritone sax, piano, bass and drums) that was sonically similar to the sound of the Swing Era. However, they employed these textures to address a widely eclectic range of styles, from free-form music to R&B, rhumbas and ragtime. The result was a brilliant blend of fresh-sounding orchestration and inspired soloing. Beloved in New York, where they generally drew capacity crowds, "The Micros" were one of the most celebrated of the many cutting-edge units associated with experimental music's best-known venue, the Knitting Factory, during the peak years of the "Downtown" music movement in the mid 1980s onward. This beautifully packaged and annotated set includes new cover artwork by Pulitzer-prize winning illustrator Art Spiegelman, new notes by leader Phillip Johnston, lots of great photographs and newly remastered versions of the last two albums by the band: "Off Beat Glory" and "Beauty Based on Science (The Visit)", as well as quite a lot of never-before released material, including two tracks with very early member John Zorn. The majority of this set has never appeared on CD and all of it has been unavailable for a number of years.
* Art Spiegelman - Cover Art
* Bernard Brightman - Executive Producer
* Collin Kellogg - Cover Design, Lettering
* Craig Hella Johnson - Production Coordination
* Dan Dryden - Engineer
* Danny Miller - Producer
* Don Christensen - Producer
* Jason Candler - Remastering
* Lars Klove - Photography
* Terry Gross - Producer
* Will Friedwald - Associate Producer
The Microscopic Septet created music that wasn't easily labeled in any one particular style. Although their music swings, it has a novelty sound and doesn't hesitate to briefly delve into avant-garde jazz, Latin music or whatever whimsical notion comes to the mind of the band's composers and soloists. This two-CD compilation is the second part of a complete series of the group's recordings, with liner notes by co-founder and soprano saxophonist Phillip Johnston. With Johnston and pianist Joel Forrester writing most of the music and arrangements, the sound has remained fresh, long after the septet finally disbanded after their final session in 1990. Some of the highlights include Johnston's energetic "Baghdad Blues" (which is played as a salsa at one point!), Forrester's "March of the Video Reptiles" (which suggests the influence of Raymond Scott), the funky, somewhat twisted "I Am the Police," the loopy miniature "Off Color," the hilarious klezmer-like "March of the Recently Punished Catholic Boys" and finally, "The Dream Detective," where baritone saxophonist David Sewelson is featured extensively and even manages to work in the theme from the television series Get Smart! An added bonus are two versions of the theme used by NPR's Fresh Air; one a sorrowful collage used during the First Gulf War and the latter which has been utilized on the program since the war's end. It's apparent that a first-rate reed section was required to tackle these demanding charts and each lineup of the Microscopic Septet manages to swing the heck out of the zany compositions of Phillip Johnston and Joel Forrester.
---Ken Dryden, All Music Guide
Microscopic Septet
Active Decade: '80s
Born: 1981
Genre: Jazz
Styles: Modern Creative, Progressive Big Band, Post-Bop, Experimental Big Band
The Microscopic Septet was one of the most distinctive jazz ensembles in New York during the '80s and early '90s. Combining a love for the big-band sound with a progressive approach to arrangement and composition, the Micros managed to be nostalgic and futuristic at the same time.
Founded by N.Y.U. dropout and soprano saxophonist Philip Johnston, the group that came to be known as New York's most famous unknown band featured pianist Joel Forrester, tenor saxophonist Paul Shapiro, baritone saxophonist Dave Sewelson, bassist/tuba player Dave Hofstra, and drummer Richard Dworkin. For a time, the group's alto sax slot was filled by John Zorn, later replaced by Don Davis. Though Johnston originally planned to add brass to the ensemble, the septet's sound was so refreshing as it was that he left it with four reed and three rhythm players.
From their first regular gigs in 1981, it was clear that the Microscopic Septet sounded and acted differently than most bands in the New York jazz scene. Combining their basic reed and rhythm lineup with eclectic compositions and soloing, the Micros were neither jazz classicists nor strictly avant-garde, but something more unregimented. Indeed, this fluid, cutting-edge nature made them a fixture at the Knitting Factory, one of the city's premiere experimental music venues.
Despite glowing reviews from the alternative music press for their witty, surrealistic approach to jazz, the group failed to attract much mainstream attention to their work, possibly because it was so difficult to classify. Consequently, over the 12 years the Microscopic Septet played together they recorded only four albums: 1982's Take the Z-Train, 1984's Off Beat Glory, 1986's Let's Flip, and Beauty Based on Science (The Visit) from 1988. From 1988 onward, they were not able to record at all, leaving many of their later pieces unrecorded.
The Micros disbanded in 1992, with Johnston moving on to film-scoring work and playing in the Unknown and Transparent Quartet, among many other gigs; virtually all of the Septet members lead their own bands, along with collaborating occasionally and performing solo. Forrester formed People Like Us, who also counted Hofstra among its members.
---Heather Phares, All Music Guide |
