Irrepressible Trumpeter Steven Bernstein Brings His Two Hottest Bands to the Jazz Standard This Week
Sexmob – trumpeter Steven Bernstein, saxophonist Briggan Krauss, bassist Tony Scherr and drummer Kenny Wollesen – have been making magically surreal, darkly cinematic sounds since the late 90s. As you will see below, good things happen when they turn up. They’re at the Jazz Standard tomorrow, March 8 and Friday, March 9 with sets at 7:30 and 9:30 PM; $30 cover isn’t too bad considering that the club has no minimums (but good food, incidentally).
Then Bernstein leads his historically-infused, hard-swinging Millennial Territory Orchestra – whose reinventions of Sly Stone songs are a real trip – there on the 10th and 11th. Check out this lineup: Charlie Burnham on violin; Curtis Fowlkes on trombone; Doug Wieselman on clarinet; Peter Apfelbaum on tenor sax; Erik Lawrence on baritone sax; Matt Munisteri on guitar; Ben Allison on bass; and Ben Perowsky on drums. It’s as if legendary Lower East Side hotspot Tonic – where an empty “luxury” condo now stands – was still open.
Here’s what Sexmob sounded like last July in Prospect Park:
“…a wickedly amusing, entertaining score to the 1925 Italian silent film Maciste All’Inferno…it’s amazing what an epic sound trumpeter/bandleader Steven Bernstein manages to evince from the four voices in his long-running quartet…part of the equation is long, desolate sustained tones; part is echo effects and the rest of it is the reverb on Wollesen’s drums, gongs and assorted percussive implements. On one hand, much of this score seemed like a remake of the band’s 2015 cult classic album Cinema, Circus & Spaghetti: Sexmob Plays Nino Rota, especially the brooding opening sequence. With a very close resemblance to Bernstein’s reinvention of the Amarcord main title theme, the band went slinking along on the moody but trebly pulse of Scherr’s incisive bass and Wollesen’s ominously muted and-four-and tom-tom hits.
Yet as much as the rest of this new score followed the same sonic formula (or tried to – as usual this year, the sound mix here was atrocious, bass and drums way too high in the mix), the themes were more playful than that album’s relentless noir ambience. At the same time, Bernstein’s uneasy but earthily rooted dynamics added a welcome gravitas to the movie’s vaudevillian charm. In brief (you can get the whole thing at IMDB): strongman Maciste, stalked by the devil, ends up in hell, fends off all sorts of cartoonish human/orc types and ends up having a potentially deadly flirtation. All the while, he’s missing his true love and family topside. Will he finally vanquish the hordes of tortured souls hell-bent into making him one of their own?
Wollesen built one of his typical, mystical temple-garden-in-the-mist tableaux with his gongs, and cymbals, and finally his toms, to open the score. It’s a catchy one, and the hooks were as hummable as the two main themes were expansive. In addition to the many variations on the title one, there was also a funky bass octave riff that subtly pushed the music into a similarly hummable uh-oh interlude and then back, spiced here and there with screaming unison riffs from the horns and one achingly menacing spot where Krauss mimicked guitar feedback. But the scrambling and scampering ultimately took a backseat to gloom. For this band, hell is more of a lake of ice than fire.”
They’re saving the fire for the Jazz Standard gigs.