Jazz
The Microscopic Sextet
Phillip Johnston (soprano saxophone); Don Davis (alto saxophone); Mike Hashim (tenor saxophone); Dave Sowelson (baritone saxophone); Joel Forrester (piano); David Hofstra (upright bass); Richard Dworkin (drums)
Originally active from 1980-1992, the "Micros" started with a basic reeds-and-rhythm texture that was sonically similar to the sound of the Swing Era, but used influences from the entire continuum of jazz. The result was a brilliant blend of fresh-sounding orchestration, ideas, compositions and inspired soloing. 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 late '80s and early '90s. In 2006, Cuneiform reissued their four albums as two double CD sets, which gained stupendous praise, attention and sales and the Micros reunited to play a few shows to celebrate their release and had such a good fun that they decided to make it 'an occasional regular thing'. So, the Microscopic Septet are back with their first album in 20 years! Their sound is the sound of jazz in America; ALL of it, from Ayler to Zorn, bebop to Basie, Ellington to Thelonious. The Microscopic Septet distill the essence of jazz into a sound that swings - a music that is intelligent, sometimes humorous, and always good fun. They aren't afraid to have some fun with the great jazz tradition while also paying homage to it. Despite the long lay-off, I think this is their best album yet. Maybe jazz needs the inventiveness and good-humored, swinging fun of Micros more now than ever before...
* Bill Ellsworth - Design, Layout Design
* Jacquelyn McKeever - Mixing
* Wayne Horvitz - Liner Notes
"...a wildly idiosyncratic, devastatingly accomplished ensemble."
---Wall Street Journal
"...at once capriciously whimsical and deadly serious."
--- New York Sun
"The Microscopic Septet...served up serpentine bop melodies, suave four-saxophone arrangements, and Dixieland-style collective raves-sometimes in the space of a single chart."
--- Time Out New York
"...the Micros were dedicated to jazz that swung and was endlessly fun and inventive...a goldmine of material that should delight and inspire..."
--- Downbeat
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 |
