Tomas Fujiwara isn’t just one of the most sought-after drummers in jazz; he’s also one of the most concisely tuneful drummer-composers out there. Among his fellow percussionists, the only one whose work ranks with his over the past few years is John Hollenbeck, although Fujiwara’s compositions are a lot less byzantine and more improvisationally oriented. He’s doing a stand this week at the Stone, with shows nightly at 8:30 PM through this Sunday; cover is $20. The one that everybody’s going to want to go to – and get to early – is Saturday night, April 14, with his two-guitar Triple Double sextet, which includes both Mary Halvorson and Ava Mendoza on guitars. The “Double Double” show tomorrow night – Halvorson and Bill Frisell on guitars, Fujiwara and Kendrick Scott on drums – will also obviously sell out.
Last night’s performance was a rapturous trio set with Amir ElSaffar on trumpet and Ole Mathisen on tenor sax, reflecting the musicians’ long association and camaraderie. On one hand, it was something of a reprise of their transcendent set in January of last year at the Fridman Gallery, except that ElSaffar was at the helm that time. This time out they played two numbers, the second a practically fifty-minute suite punctuated by numerous pregnant pauses. Both works gave the group plenty of space to expand on somberly terse, translucent phrases with brooding harmonies, crescendoing judiciously through a long series of variations.
The opening tune had more of Fujiwara’s signature wit, in this case popping up in “wait-for-it” moments that weren’t quite vaudevillian, and droll flourishes leaping out of a series of altered press rolls. ElSaffar, who’s usually a cipher onstage, couldn’t keep himself from grinning. And the trumpeter’s influenced seemed to permeate the whole set, at least as far as gravitas is concerned – although his role here was to simmer and percolate when he wasn’t exchanging long tectonic phrases with Mathisen. Fujiwara built suspense with mallets on the toms, developing a slowly rising series of waves punctuated by lots of space and some wry doppler and echo effects.
His persistent, protean presence permeated the long suite, whether with muted mallet murmurs, brushy mist or finally a sober sway when he broke out his sticks. Mathisen, charged with the darker role here, lingered in the shadows or moved forward with a moody melodicism, sometimes trading off with ElSaffar or anchoring the trumpet’s increasingly complex, cellular spontaneity.
The crowd was intimate; it was akin to sharing a backstage moment with some of this era’s greatest jazz minds. “Come back tomorrow,” Fujiwara grinned; it’s a good bet some of them will. As a reminder to those who haven’t been to the Stone recently, the old Avenue C space is gone for good; the shows are now held in the comfortable ground-floor Glass Box Theatre at the New School at 55 W 13th St.