A Small Subset of the Great Microscopic Septet Plays the Lower East Side Saturday Afternoon

by delarue

There are few more definitively New York outfits than the Microscopic Septet – notwithstanding that a co-founder of this “surrealistic swing” crew is Australian. They predated the swing jazz revival here, but they’re not the least bit retro. They come out of the late 70s/early 80s punk jazz scene, but they’re not the least bit skronky. And pianist Joel Forrester foreshadowed this year’s avalanche of protest jazz by writing the theme for NPR’s Fresh Air as a brooding broadside against Bush I’s Gulf War. Beyond their substantial back catalog, they reputedly have a couple hundred more compositions they’ve played live over the decades but have never recorded. Their latest album, Been Up So Long It Looks Like Down to Me: The Micros Play the Blues is streaming at Cuneiform Records.

The Micros typically reunite for an annual Manhattan show or two. They haven’t done that this year, but their two lowest-register members, baritone saxophonist Dave Sewelson and bassist Dave Hofstra are playing a real 80s throwback kind of gig, a duo improvisation on Sept 9 in the community garden at Stanton and Norfolk at around 3. Avant garde cult favorite multi-instrumentalist Cooper-Moore – a big influence on Mara Rosenbloom – duets with bassist William Parker to start the afternoon at 2; afterward at 4, trombone wizard Steve Swell joins with Parker and TA Thompson.

The Micros’ album is a about as serious as they get – which isn’t totally dead serious, considering how much of their catalog is sort of the Spinal Tap of classic jazz – in that sense, they predated Mostly Other People Do the Killing by a couple of decades. The album opens with Cat Toys, a slinky horror film theme theme with the occasional wry piano flourish, a smoky Don Davis alto solo and Hofstra’s coy strut over drummer Richard Dworkin’s sotto-voce rimshots. Blues Cubistico is full of tongue-in-cheek stop-and-starts and gives Sewelson a vehicle for his genial wit. Likewise, the slowly swaying Dark Blue, with plenty of droll echo tradeoffs with the rest of the band and a similarly sardonic outro where the four-horn frontline finally coalesces.

Don’t Mind If I Do is a rare departure into straight-ahead, blithe, New Orleans-tinged territory with a slithery solo from tenor saxophonist Mike Hashin (who’s also the not-so-secret weapon in Svetlana & the Delancey Five). Similarly, another of soprano saxophonist Phillip Johnston’s tunes here, Migraine Blues has a comfortable wee-hours strut, but with contrasting, shivery solos from Davis and Sewelson.

PJ in the 60s, a catchy, triumphant swing shuffle, is Forrester’s shout-out to his bandmate Johnston, building out of a surprisingly messy sax cauldron and featuring a balmy Johnston trading off with the rest of the horns. When It’s Getting Dark is basically variations on the Peter Gunne theme, Forrester’s sardonic piano up against Dworkin’s emphatic drumming and some cartoonish chartwork from the horns. Simple-Minded Blues, dedicated to Spectrum impresario Glenn Cornett, is anything but simple, a cheery exercise in dressing up the blues in all kinds of strange voicings, but with a purist Forrester solo as a sweet caramel center.

After You, Joel, dedicated by Forrester to painter Joel Goldstein, brings back the shuffle groove and Looney Tunes exchanges of voices. 12 Angry Birds, a low-key, marching Ellington homage by Johnston, reaches for Mood Indigo lustre, with a brooding soprano sax solo that’s arguably the album’s most riveting moment.

Quizzical, Johnston’s salute to his bandmate and Micros co-founder Forrester, threatens to get satirical early on but straightens out with a purposeful Monk influence and plenty of room for the pianist to channel that. The album winds up with a blues version of a xmas carol – which should have been left at the curb for the trash truck beside that moldy Simon & Garfunkel album  – and a hefty cover of Joe Liggins and the Honeydrippers’ 1950 R&B hit I’ve Got a Right to Cry, sung with gritty passion by Sewelson. It’s unlikely that he and Hofstra will do much of anything this composed at the Saturday show in the garden…but you never know with any of these guys.

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