A Menacing Masterpiece and an Annual Halloween Celebration from Pam Fleming’s Dead Zombie Band

by delarue

Trumpeter Pam Fleming‘s Dead Zombie Band are the inventors and possible sole practitioners of a relatively new and incredibly fun style of music: Halloween jazz. Fleming, who’s played with everybody from Natalie Merchant to roots reggae legend Burning Spear, brings her signature eclecticism to the band’s album Rise and Dance, streaming at cdbaby. Leading an all-star cast of New York talent, she’s playing the band’s annual Fort Greene Halloween dance party starting at around 6 PM this Saturday on Waverly Avenue between between Willoughby and DeKalb Avenues. Take the C train to Clinton-Washington.

The band slowly rises, as if from the grave, as the album gets underway, Fleming’s somber trumpet leading the funeral procession. And then they’re off on a wry reggae pulse, Tine Kindemann’s singing saw flickering in the background. Fleming’s fiendishly fun vocals are the icing on this orange-and-black cake. Fleming’s trumpet, Karen Waltuch’s viola, Jenny Hill’s tenor sax and Buford O’Sullivan’s trombone all have chromatically delicious fun. It’s a lot more Black Ark noir than it is Scooby Doo.

Zombie Drag is a slow, muted, misterioso carnival theme: the way Fleming slowly marches the horn chart out of the mist, then back and forth, is Gil Evans-class inventive. Pianist Rachelle Garniez goes for icy Ran Blake noir on The Bell behind Fleming’s whispery, ghoulish recitation. Then Garniez – who’s also playing Barbes at 8 on Nov 5 – takes over on the similarly crepuscular Two Lovers and winds it up with a gorgously ghostly improvisation that dies on the vine far to soon.

The narrative gets very, very ghostly for a bit, Fleming’s ominous intonement backed by Ursel Schlicht brushing the piano strings, a “cackle cocktail party” and then the band goes up into Satan Is Waitin’, a mashup of saloon blues, Danny Elfman soundttrack shenanigans, jajouka (dig Jessica Lurie’s alto sax solo!), Jimmy Smith (that’s Adam Klipple on organ) and oldschool soul. After that, there’s some storytelling – imagine a Dr. Seuss Halloween tale set to Hollywood Hills noir boudoir soul.

Klipple’s droll roller-rink organ anchors some pretty joyous solos from tenor saxophonist Lily White, Hill (on baritone now), and Martha Hyde on alto throughout the reggae-soul number Rise and Dance – hey, if you were a zombie, you’d be pretty psyched to be getting out of the cold ground at last. Forget anything you’ve heard before: this is the real Monster Mash.