It’s hard to believe that it’s been thirty years since Iconoclast, one of the world’s definitive noir jazz acts, put out their first album. Since then, the duo of saxophonist/violinist Julie Joslyn and drummer/pianist Leo Ciesa have built a distinctive body of work that’s part rainswept nocturnes, part edgy downtown improvisation and part punk jazz. Their brand-new thirtieth anniversary album, aptly titled Driven to Defiance, is due out momentarily, and the duo have an album release show on April 7 at 7 PM at stage 2 at Michiko Studios, 149 W 46 St on the second floor.
The album opens with the title track, rising from Ciesa’s spare, ominously crescendoing, echoey drum intro, then Joslyn’s similarly spare, bittersweet late-night streetcorner sax takes over. It’s been a pretty desolate journey, but not an unrewarding one.
Fueled by Joslyn’s violin, One Hundred Verticals builds from horizontal Americana, through a bracingly microtonal dance to gleefully marauding shred. Too Late to Worry, with its catchy, mantra-like sax hook and artfully shifting polyrhythms, comes across as a mashup of Raya Brass Band and legendary downtown punk-sax band Moisturizer. Likewise, More of Plenty is awash in biting Balkan tonalities, from a tongue-in-cheek, icily dripping Ciesa solo piano intro to Joslyn’s airy sax multitracks.
The two follow Ciesa’s judiciously strolling, Schoenbergian piano piece Thinking Thoughts with You Are So Very Touchable, his muted stalker drums eerily anchoring Joslyn’s gentle, lyrical sax. Spheres of Influence is Iconoclast at their sardonic, epically assaultive best, a cackling, chattering, often hilarious Tower of Babel that would make an apt theme for Donald Trump’s next reality tv show, assuming he’s around to do one.
The Flat Magnetic Girl is a jaunty, honking strut, and the catchiest tune on the album…with a trick ending. Although nine minutes long and awash in moody resonance, the mini-suite Part of the Hour, with its menacing jazz-poetry interlude, is no less tuneful.
Ciesa’s intricately tuned snare and toms develop a countermelody under Joslyn’s somber sax in The Customary Slip. He does the same thing throughout the neat clave-funk-punk of Luck is Relative. There’s also a bonus track, wryly titled Take 18 (Live at Funkadelic), a playfully plucky, shrieky violin-and-drums theme that sounds like it was recorded at the legendary, labarynthine rehearsal space’s old Flower District location. Perennially fresh and always with a dark undercurrent, Iconoclast have more than earned themselves iconic status.