It used to be that an artist never got a Lincoln Center gig until they were well established. That’s changed. These days, if you want to catch some of the world’s most exciting up-and-coming acts, Lincoln Center is the place to be. This August 31 at 7:30 PM the mighty, cinematic and wildly danceable Jazzrausch Bigband make their Lincoln Center debut at the atrium space on Broadway just north of 62nd Street. The show is free, so whether you want a seat or a spot on the dancefloor, getting there on time is always a good idea.
Some mystery surrounds this largescale German ensemble. There isn’t much about them on the web other than a Soundcloud page and a youtube channel, which is surprising, considering how individualistic, cutting-edge and irrepressibly fun they are. Like the NYChillharmonic – whose leader, Sara McDonald, has also sung with them – their instrumentation follows the standard big band jazz model. Stylistically, they’re all over the map.
A listen to four tracks from their forthcoming album reveals influences that range from current-day big band jazz to EDM, autobahn krautrock, indie classical and disco. The result is an organic dancefloor thud like a much more ornate Dawn of Midi or Moon Hooch. Much as these recordings are extremely tight, the band have a reputation for explosive live shows, with roots that trace all the way back to the raucous European anarchist street bands of the late 1800s.
The first album track that mysteriously made its way into the inbox here is the aptly titled Moebius Strip. Loopy, pinpoint syncopation from the reeds -Daniel Klingl, Raphael Huber, Moritz Stahl and Florian Leuschner – leads to a suspenseful pulse fueled by the low brass, and then they’re off onto a whoomp-whoomp groove. “It’s a weird strip,” intones soul-infused chanteuse Patricia Roemer; at the center, before the strutting crescendo peaks out, there’s a jaunty alto sax solo.
The ten-minute epic Punkt und Linie zur Flaeche (Point and Line to the Area) has a relentless motorik drive, cinematic flashes and flickers from throughout the orchestra and a deadpan hip-hop lyric. Moody muted trumpet and dancing saxes punctuate the mist as the band build a towering disco inferno: is that white noise from Kevin Welch’s synth, or the whole group breathing through their horns?
The Euclidean Trip Through Paintings by Escher brings back the loopy syncopation, with a playfully bouncy melody that could be a fully grown Snarky Puppy, trumpet shifting the theme into uneasier territory until they turn on a dime with a little New Orleans flair. The last of the tracks, Trust in Me, is another epic and the most traditionally jazz-oriented number. When’s the last time you heard a disco song that combined flavors like Henrich Wulff’s lingering Pink Floyd guitar,Marco Dufner’s sparkling chicha-flavored drums and stern faux hi-de-ho brass from trumpeters Angela Avetisyan and Julius Braun, trombonists Roman Sladek, and Carsten Fuss and tuba player Jutta Keess?