The Frank Carlberg
Large Ensemble is: Kirk Knuffke, John Carlson, Dave Smith, Jonathan Powell -
trumpets; Alan Ferber, Brian Drye, Chris Washburne, Max Seigal - trombones;
John O'Gallagher, Jeremy Udden, Sam Sadigursky, Adam Kolker, Brian Landrus -
saxophones; Christine Correa - voice; Frank Carlberg - piano, Johannes
Weidenmueller - bass, Michael Sarin - drums; JC Sanford - conductor
MONK DREAMS, HALLUCINATIONS AND NIGHTMARES, the new large
ensemble recording from Frank Carlberg (on Red Piano Records, February 10,
2017), draws its inspiration from the work of Thelonious Monk. The album taps
into the atmosphere and orbit of Monk; infected by, informed by, in awe of
Monk, and presented as an act of love and respect. The pieces generate their
shapes from splinters, cells and feelings found in and around Monk's music, as
well as from his verbal utterances in the form of advice and/or cryptic
observations. MONK DREAMS, HALLUCINATIONS AND NIGHTMARES is not intended as a
tribute album, but rather as, "a celebration of the beauty and vitality of
his music that has impacted me profoundly," explained Frank Carlberg.
"I thought it fitting to present this recording during the Monk Centennial
year, 2017."
Why Monk? Carlberg explains: "For me, a Monk-inspired
project is quite personal. Monk's music has been central to my musical life
from very early on. The clarity of his thought, the uncompromising nature of
his art, the emotional impact Monk's music has made on me; this recording is a
culmination of all these elements, and being able to record this music with
these remarkable musicians is really a dream come true for me!"
The opener, DRY BEAN STEW, borrows shapes and snippets from
Monk's, "I Mean You". It begins with mysteriously pulsating sounds
and noises that gradually develop into a restless rhythm, alternating between
longer and shorter beats. This tempo with an irregular gait meets up with a
descending motif that echoes "I Mean You." After several shifts the
pulse slows to half-time and features resonant wind voicings. Suddenly the
metrically unsettled tempo returns with cascading figures in counterpoint hurtling
towards a blistering solo by John O'Gallagher on alto. The end of O'Gallagher's
solo leads back to the half-time feel and a piano excursion by Carlberg. The
band's swinging statement then concludes with a transition to a tutti rhythmic
romp serving as a back drop to trumpeter John Carlson's soaring, emotive lines.
A long ascending line is followed by the cascading horn lines, with increased
counterpoint, before the band delivers one more short statement in half-time. A
humorous wink to the classic Monk intro ends the piece on a light note.
RHYMES features a lyrical a cappella bass solo by
Weidenmüller as an introduction. Once the band enters, Clark Coolidge's
evocative poem, "Rhymes with Monk" (read here by poet Paul Lichter),
permeates the whole piece. The band commentary features brief solo spots by
Jeremy Udden on alto saxophone, and David Smith on trumpet, as well as many
allusions to Monk-like shapes by the horn sections.
SPHERE is an energetic romp centered around the pitch of Bb.
Washburne's trombone sets the tone before the horns gradually enter in playful
rhythmic counterpoint with occasional interruptions. A hint of "Straight
No Chaser" enters the fray but disappears just as quickly. After a metric
modulation and some tonal shifts Udden's alto takes over with a lyrical
disposition. The horns re-enter and build to a climax of organized chaos. After
a brief tempo change Washburne and the simmering rhythm section bring the tune
to a playful ending.
After some bird-like textures on A DARKER SHADE OF LIGHT
BLUE the melancholic melody enters gradually bringing the whole band together
in a short tutti statement. Brian Landrus takes over with a yearning bass
clarinet solo supported by bass and drums. Clustered voicings provide a
backdrop to the solo. A tempo is established with Sarin setting the stage for a
bass line with bass trombone and bass clarinet. Carlson solos with gusto on
trumpet and a lively sectional counterpoint leads to a rambunctious finale that
quickly dissipates into silence.
BEAST, with its distant echoes of Monk's "Ugly
Beauty" evokes a somber merry-go-round atmosphere. Alan Ferber's trombone
is featured to great effect, building the intensity before the re-entry of the
thematic material.
YOU DIG! is a lively verbal Monk quote, sung by Christine
Correa. The music rushes forward with reckless abandon, and after breathless
woodwinds and relentless brass, O'Gallagher matches the intensity in his
brilliant alto solo. After the band returns, drummer Michael Sarin has the
spotlight and dispatches a delightfully inventive solo turn before a last
humorous slow reiteration of the text.
NO FEAR, MY DEAR opens with stately low winds and bass
providing the environment for Sarin's percussive ruminations. After a gradual
orchestral build Adam Kolker's tenor plays a beautifully crafted call and
response solo with the band. Eventually the ensemble takes over and borrows
some phrases of "Ruby, My Dear" in rich orchestration. An open wind
pyramid of perfect fifths brings the piece to a close.
The motivic and harmonic materials of INTERNATIONAL MAN OF
MYSTERY are mostly derived from the interval of a sixth (the interval also
structurally significant in Monk's "Misterioso"). Udden provides solo
commentary to the orchestral setting before giving way to a Frank Carlberg
piano solo. The cornet of Kirk Knuffke then builds to the orchestral high point
of the piece. A few more sixths in mixed winds end the piece in a ritardando.
Another Monk quote provides the text for the setting in
ALWAYS NIGHT. Trumpeter Carlson blows over a churning rhythm section background
before Correa enters with the short declamatory yet mysterious vocal line.
After some instrumental interruptions the line re-appears twice more. The piece
ends with a collective improvisation where Correa and Carlson lead the way.
Thelonious Monk's classic ROUND ABOUT MIDNIGHT gets an
extended, creative treatment here. Carlberg says: "I wanted to include
this piece here in all its glory. Being probably Monk's most famous composition
(and most frequently recorded...) I wanted to honor the exquisite design of the
piece while adding a personal take on it. I also wanted to incorporate a hint
of the traditional intro as well as coda with a certain compositional
transformation of the original." Knuffke is the featured soloist
throughout and turns in an exquisite performance on cornet. The band is richly
orchestrated and brilliantly performs the dynamics from a hush to a roar.
MONK DREAMS, HALLUCINATIONS AND NIGHTMARES
is not your grandfather's Big Band music. Specifically, it
offers new perspectives on Monk's music, and on compositions for large jazz
ensemble in general. It celebrates Thelonious Monk on his centennial while
forging new paths in modern jazz by balancing the improvisational impulses with
exciting orchestral and structural designs.
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