One of 2016’s Best Albums: Klazz-Ma-Tazz’s Epically Haunting Lynchian Klezmer Jazz
Violinist Ben Sutin‘s Klazz-Ma-Tazz are one of those fantastic bands that defy categorization. Their new album Tangibility – streaming at Bandcamp – is part noir jazz, part klezmer, part Balkan and Middle Eastern music. Any way you look at it, it’s one of the year’s best.
The album’s opening diptych has two spine-tingling, shivery cascades, one from the violin and one from alto saxophonist Elijah Shiffer, bookending a gorgeously lush, bittersweetly swaying, cinematically suspenseful theme from Ben Rosenblum’s darkly crushing piano, Grant Goldstein’s languid Lynchian jazz guitar and a hypnotic groove from bassist Mat Muntz and drummer Matt Scarano. This has got to be one of the three or four best songs released this year – what a richly cinematic way to draw in a listener, right off the bat! That the rest of the album isn’t anticlimactic testifies to the consistently cinematic quality of the tunes and the musicianship.
The funky, syncopated Thank You is driven by a circular piano hook; Sutin’s chromatic violin takes it into more acerbic, haunted Balkan flavored territory, followed by a steady slowly crscendoing sax solo overhead, spikily clustering piano and then Muntz’s bass running the riff as the piece grows more uneasy.
The title track slides toward jazz waltz territory out of an uneasily syncopated piano intro fueled by Sutin’s enigmatic, allusively chromatic lines, with expansive, carefully allusive, crescendoing solos form piano and then sax. Then he bandleader goes leaping and spiraling; if Jean-Luc Ponty had a thing for the Middle East, it might sound something like this.
Icy, uneasy violin and sax rise and dance over an icepick piano-and-drums backdrop as Tbilisi gets underway, a mashup of Bahian jazz with a jauntily triumphant sax-violin conversation midway through, the band artfully hinting at straight-up swing but not quite going there. Sutin takes a piercing, suspenseful solo over a murky, turbulent piano backdrop to open the groups cover of Miserlou, which they first parse as practically a dirge: it’s arguably the most original take of the song anybody’s recorded in recent years, and at well over eleven minutes, it’s probably the longest too. Even when the guitar comes in, it’s a lot more Balkan psychedelia than surf, an explosive vamp midway through packed with searing violin and sax work.
Listen closely and you can hear echoes of Ellington’s Caravan in the unsettled tumble of Speak the Truth. A brief, austere guitar-and-accordion passage introduces Kluez, the album’s elegaically pulsing, mysterious final cut, an ominously twinkling Twin Peaks set theme with hints of blues and late 50s Miles Davis amidst the nocturnal glimmer. An extraordinary effort from a truly extraordinary, inimitable group who deserve to be vastly better known than they are.