For his
bewitching new album Humanity Part II, bassist, composer, and film music
aficionado Robert Sabin assembled a brass-heavy tentet in service of a dark,
glacial, cinematic sound. The CD, Sabin's third in ten years, will be released
on his Ranula Music label July 14.
"I love
the way film music invokes states of mind that you carry from the film, things
beyond the music itself," says Sabin, whose 2007 album, Romero, grew out
of his obsession with the zombie thrillers of George A. Romero (Night of the
Living Dead), and whose debut, Killdozer (2005), was about a deranged man and a
heavily armored instrument of destruction. "I enjoy taking a theme from a
horror movie and getting more juice out of it, really going deeper inside
it."
Sabin's
exceptional tentet for Humanity Part II includes some of the finest players and
fellow composers on the New York scene, including guitarist Jesse Lewis,
saxophonists Aaron Irwin and Jason Rigby, trumpeters Dan Urness and Matt
Holman, hornist Chris Komer, trombonist John Yao, tubaist Ben Stapp, and
drummer Jeremy Noller. "Being a great composer means having great people
play your music," says Sabin. "These were the players I had in mind
when I wrote the album, and there isn't anyone else I would even consider
playing on the recording."
The title
track fuses together two Ennio Morricone themes composed for John Carpenter's
1982 remake of The Thing, formerly arranged for synthesizers. "Through a
Glass Darkly," inspired by legendary Swedish director Ingmar Bergman's
early-'60s trilogy, is a three-part study in existentialism -- in loneliness
and silence.
"Tenebre,"
an understandably unsettled work, is named after the 1982 film by Italian
horror master Dario Argento, whom Sabin admires (among his more delicate
touches) for "his beautiful use of color and style, natural and
unnatural."
Humanity
Part II's most haunting piece, "Scarecrow," is based not on a film
theme but elements of Ravel's masterpiece Gaspard de la nuit. Signifying a
hanged man dangling against the horizon, a repeating note chimes ostinato-style
in the far background.
"Chromatic
brooding permeated with silence" -- that's how Sabin describes his basic
approach. For all that, the music is fully alive and unexpectedly affecting in
taking you places you haven't been before.
Born on
October 27, 1972 in Portland, Oregon, Robert Sabin studied saxophone in
elementary school and played in the fifth-grade band. He took up electric bass
in high school and was soon exploring basic elements of jazz and contemporary
music, inspired by his growing affinity for the instrument and its role in an
ensemble.
His first
serious exposure to improvisation came when he attended New York University as
an undergraduate. After belatedly transferring into the music department, and
then gaining admission to the jazz program, he worked hard with his esteemed
instructor Mike Richmond and, after graduation, with another distinguished
bassist, Michael Moore. Later studies would include work with Mark Helias,
Michael Formanek, and Jay Anderson, eventually playing with a long list of
notable veterans including Oliver Lake, Jean-Michel Pilc, Peter Bernstein, Dick
Oatts, Kenny Werner, Brian Lynch, and Dave Liebman.
Sabin
acquired his graduate degree at the Manhattan School of Music before heading
back to NYU for his doctorate. He did his dissertation on bassist Gary Peacock,
an underrated artist in Sabin's estimation: "He is such an intuitive
artist. He's not about technique or chops. When he taught me, it was more about
what things you can do to avoid getting in your own way."
Dr. Sabin
serves on the faculty of Hunter College High School and has worked with the
Manhattan School of Music Precollege as well as directed the Jazz Program at
the New York Summer Music Festival and Institute. He was awarded second place
in both the 2001 and 2003 International Society of Bassists' Jazz Competitions.
Sabin and
his tentet will present the powerful music of Humanity Part II at Greenwich
House, 46 Barrow Street, New York City, on Tuesday 8/18 at 7:00 pm (212-242-4770);
$10 cover.
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