You want instant cred? Get recruited by Anat Cohen to play in her Tentet. That’s the deal with trombonist Nick Finzer, who’s playing the album release for his new one, No Arrival this Wednesday, May 23 at 8 PM at Subculture, 45 Bleecker just east of Lafayette, downstairs from the Culture Project Theatre. Advance tix, available at the box office, are $20.
Most of the new record – streaming at Posi-Tone Records – is originals. To Finzer’s credit, this isn’t a full-throttle situation: he mixes up tempos and styles, and for a guy with his vaunted technique (check his youtube masterclass channel), he doesn’t waste notes. On the opening number, Rinse And Repeat, Finzer’s sextet work an insistent, understated cha-cha groove, Alex Wintz’s guitar and Victor Gould’s piano throwing answers to the bandleader’s ongoing quest of a solo, saxophonist Lucas Pino following, completely tongue-in-cheek, Jon Irabagon style.
The blithe New Orleans stroll that introduces Never Enough offers no hint of the welcome haphazard direction it’s going to go in…or Pino’s nifty bass clarinet solo. Always fun to take chances, right?
Likewise, the first of the covers, Leonard Bernstein’s Maria theme from West Side Story, understates the latin flavor, dancing along on the pulse of Dave Baron’s bass and Jimmy Macbride’s drums, the bandleader’s balmy solo front and center. They revert to similarly subtle latin syncopations a little later with George Gershwin’s Soon.
Tomorrow Next Year – Finzer’s “we’re gonna get through this somehow” response to the fateful 2016 Presidential election – is a bustling, vampy urban tableau, Finzer and Pino having fun with a famous Albert King riff. The band build momentum out of a pensive, searching tone poem of sorts in the album’s title track – the momentary pairing of Macbride’s cymbal bells and Wintz’s belltone chords is a cool touch.
Chugging sixteenth-note volleys from Finzer and Pino, and a tightly clustering Gould solo propel Pyramid, from Duke Ellington’s Ellington Far East Suite, while expansive solos from Finzer and Wintz elevate Only This, Only Now from existential gloom. The album closes with two covers: a mighty, churning reinvention of Prince’s The Greatest Romance Ever Sold, and Strayhorn’s A Flower Is A Lovesome Thing, a showcase for Finzer’s wry, Wycliffe-esque finesse with a mute. It’s an impressive effort from a highly sought-after player whose best days are probably still ahead of him.