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| Dime Grind Palace |
| Sex Mob |
első megjelenés éve: 2002
56 perc |
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| (2003)
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CD |
| 3.750 Ft
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| 1. | Entrance Music
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| 2. | Kitchen
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| 3. | Dime Grind Palace
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| 4. | Translation 1
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| 5. | Blue and Sentimental
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| 6. | Mothra
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| 7. | Slide Serenade
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| 8. | Translation 4
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| 9. | Norbert's Weiner
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| 10. | Baby Let Me Hold Your Hand
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| 11. | Translation 2
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| 12. | Artie Shaw
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| 13. | Call to the Freaks
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| 14. | Translation 3
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| 15. | Conk Buster
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| 16. | Exit Music
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Jazz / Avant-Garde Jazz; Modern Creative; Post-Bop; Hard Bop
Recorded: Dec 9-11, 2002, Loho Studios, New York, New York, USA
Sex Mob
Briggan Krauss - alto saxophone, baritone saxophone
Steven Bernstein - slide trumpet
Tony Scherr - bass instrument
Kenny Wollesen - drums
Additional personnel:
David Tronzo - slide guitar
John Kruth - mandolin
Peter Apfelbaum - melodica, tenor saxophone, organ
Doug Wieselman - clarinet
Scott Robinson - alto clarinet, saxophone
Marcus Rojas - trumpet, tuba
Roswell Rudd - trombone
Brian Mitchell - Wurlitzer piano
Sex Mob is back with a new album and a larger cast of friends than ever. Dime Grind Palace is the dancehall where everything Sex Mob has done to this point becomes fully defined, like a reverse prism concentrating the full spectrum of jazz past and present into a brilliant, focused beam. Foremost among the collaborators this time out would have to be friend and spiritual mentor Roswell Rudd, a musician who never forgot that jazz should not only swing, it should never neglect a sense of humor, even when both feet are firmly planted in the avant-garde. Kindred spirits indeed. The tunes were all cut live in the studio, with leader/slide trumpeter Steven Bernstein running the show as always. There may have been charts for some of the songs, but no rehearsal; Bernstein conducts on the fly with a crazed mixture of eye contact and hand gestures. Only a handful of tunes are played strictly by Sex Mob; most cuts have several extra players on them, although the main soloists are still Bernstein on slide trumpet and Briggan Krauss, one of the most original and demented alto players there is. Hats off to Scotty Hard behind the boards, who is not only able to capture the freshness and excitement of these sessions on tape, but also adds subtle treatments at times and mixes the improvised (and, at times, very trippy) transitions into the other material seamlessly. Dime Grind Palace is another showcase for Sex Mob doing what they do best: providing a damn good time for one and all.
---Sean Westergaard, allmusic
Liner Note Author: Hal Willner.
Sex Mob
Active Decades: '90s and '00s
Genre: Jazz
Styles: Modern Creative, Avant-Garde Jazz
Sex Mob began merely as a setting to feature the slide trumpet of leader Steven Bernstein, but has grown into a band with a much larger mission: to put the fun back in jazz music. After assembling the band (Bernstein, slide trumpet; Briggan Krauss, alto sax; Tony Scherr, bass; Kenny Wollesen, drums), Sex Mob began a residency at the Knitting Factory, playing predominantly originals written by Bernstein. During a special evening of film music, the crowd went crazy for the "James Bond Theme," and Bernstein realized that the audience was much more attuned to their playing when they recognized the tune. The band started to expand their songbook, but not to the same old, tired jazz standards. Songs by Prince, the Grateful Dead, the Rolling Stones, and even the "Macarena" could find their way into a Sex Mob set, the only rule being that the song had to have such a strong melody that it could withstand serious deconstruction. Bernstein said in Jazz Asylum, "I realize that's what jazz musicians have always done. That's how Lester Young got popular; its how Charlie Parker got popular; it's how Miles Davis got popular; that's how John Coltrane got popular. They played the songs that everyone knew and because they could recognize the song, then that invited them into their style."
Word of mouth began to spread about their live shows, with Bernstein's on-stage antics and the band's amazing musicianship as the focal points. Bernstein is one of the more active bandleaders out there, constantly dictating arrangements to the other musicians, and letting them have it when they don't deliver what he wants. They never rehearse and they never have a set list, which keeps things constantly fresh. Their weekly gigs eventually got them voted as New York City's best band in 2000.
Sex Mob's 1998 debut, Din of Inequity, was the only release of a short-lived agreement between Knitting Factory Records and Columbia Jazz. Augmented by two guitarists (Adam Levy and London McDaniels) and keyboard powerhouse John Medeski, Sex Mob romped through a program mostly of covers and a handful of Bernstein originals. 2000 saw the release of Solid Sender on Knitting Factory, as well as the self-released Theatre & Dance. Solid Sender is another mix of covers (Nirvana, Rolling Stones, ABBA) mixed with more Bernstein originals, some of which serve as short bridges between tunes. Solid Sender also uses a wider variety of guests, including DJ Logic and a string trio featuring Charles Burnham. Theatre & Dance is split between Duke Ellington compositions commissioned by choreographer Donald Byrd for a dance entitled In a Different Light: Duke Ellington, and Bernstein originals written for a revival of the 1926 Mae West play Sex.
2001 brought a change in label, from Knitting Factory to Ropeadope, and an album with a less kaleidoscopic selection of songs. Sex Mob Does Bond has the Mob (again with John Medeski) burning through the John Barry songbook, covering a host of tunes written for the first five James Bond movies. For 2003's Dime Grind Palace, Sex Mob focused on Bernstein originals with a myriad guests including trombonist Roswell Rudd. 2006's Sexotica on Thirsty Ear was a homage to the soundscapes of Martin Denny.
Steven Bernstein sums up the Sex Mob ethos like this: "Jazz used to be popular music. People would go out to clubs, listen to the music, go home, and get laid. Simple as that. We're bringing that spirit back."
---Sean Westergaard, All Music Guide |
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