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Reviews Jazz near and far Sonic Explorers latest disc well worth the trip Worcester Magazine "Every tune is like its own little movie," says Jerry Sabatini. "Sometimes you want to create melancholy, sometimes bliss, sometimes you just want colors and textures swirling around." The trumpeter and leader of the Sonic Explorers has been a leading light of the area jazz scene for years. Yet as adventurous and enthralling as the Explorers have always been, their new album So Near, So Far finds the group breaking significant new ground with the images their music evokes. Each of the nine tracks has a new surprise around every corner. What makes the six-piece Explorers unique is that Sabatini's arranging comfortably draws from both classic and radical approaches to jazz and improvised music. Shifting horn lines might suggest the melancholy of Gil Evans, while at the same time the rhythm section is drawing on Balkan rhythms. Old World melodies inform "Geraldo's Hideaway," while bubbling electronic tones make a neat contrast with Thomson Kneeland's acoustic bass on "Advansor." The newest Explorer, guitarist Nate Radley, replaces the piano heard on the group's previous two discs. Radley's snakelike shifting of lines and atmospheres against Mike Connors's evocative percussion is now a trademark of both the Sonic Explorers and Kneeland's Kakalla (which will have a new CD of its own, The Voice of Silence , out this winter). "Nate is so intuitive," says Sabatini. "He gives us so much more space. He can go anywhere -- he such a sensitive player. He knows when to play and when not to play. When he's not playing, he's not playing the right stuff!" The longtime horn section of Mark Weissman on saxophone and trombonist Rich Ardizzone excel at bringing out the music's deep colors. "It’s funny, some of Mark's solos ended up being these real freak-outs, which isn't always how he plays," laughs Sabatini. Guests Jason Hunter on saxophone and James Falzone on clarinet join them. A gift of an old camera from Sabatini's father-in-law inspired many of the images heard in the music. "I started taking all these photos, and really became visually oriented. I realized that my musical compositions were taking on the emotional content that I saw in these photos. I also became fascinated by all forms of poetry and with all the varying forms a poem can take on. It really inspired me to think about having every musical composition take on a different form." Even as Sabatini's newer compositions offer the drama that comes from breaking free from standard jazz conventions, the disc concludes with a beautiful post-bop tune, "You’ll Never Know." "That is our roots more than anything else," he says. "It shows where I came from. And it still has this real definite mood captured in it, so it is consistent with the rest of the CD. I didn't want that tune to slip away." Besides having excellent musicians, Sabatini's also succeeding in achieving a pristine sound in the studio that captures all of the group’s dynamics. The remarkably well-recorded disc was the result of a process that was anything but rushed. "We went over it with a fine-toothed comb to make sure all the musicians were happy with how they were captured, and I was present for all of the mixing," he says. Despite a constant flow of positive press and awards, the group has often had to scramble to find Worcester venues to perform in, playing many of its gigs out of state. So Sabatini is pleased to be able to hold the first of two CD release concerts at Zara's, a dedicated jazz venue. "I'm really happy for that room, and I hope the community supports it." Noah Schaffer may be reached at editorial@worcestermag.com . Sonic Explorers breaks new ground Worcester Telegram & Gazette Without using a word, Jerry Sabatini tells some pretty amazing stories on ``So Far, So Near.'' ``So Far, So Near'' is the third compact disc from the Sonic Explorers, the jazz ensemble put together in 1995 by trumpet player Sabatini as a vehicle to explore his broad tastes as a composer and a musician. Sabatini hits new heights in his latest effort, as he captures the improvisational energy of the original Sonic Explorers and the stylized compositions of the band's middle period heard on the CD ``Beatnik Oblivion.'' ``If it weren't for those other ones, I wouldn't be here,'' Sabatini said of the questlike zeal he's brought to the Sonic Explorers. ``It's my love of music that keeps me going on this. When I started the Sonic Explorers, it was to explore composition and my interests in music from all over the world and to become a better player,'' he said. ``Every decision I've made since 1995 was based on exploring new music, new forms, new scales. I see myself in the middle of a journey that will never end.'' It's a journey his listeners will be happy to share.
The lineup on ``So Far, So Near'' includes veteran Explorers Sabatini, bass player Thomson Kneeland and drummer Mike Connors as well as newer recruits Mark Weissman on saxophone, Rich Ardizzone on trombone and Nate Radley on guitar. Jason Hunter played saxophone on seven of the CD's nine tracks, and James Falzone contributed clarinet to the two songs not featuring Hunter. Sabatini said he composed the material for ``So Far, So Near'' with a seven-piece unit in mind, his largest version yet of the Sonic Explorers, which began with two horns and a piano player plus the rhythm section. ``It's not like you just add two little pieces to the puzzle,'' he said. ``It's like balancing balls on balls. Everything is so delicate. Adding any little thing changes everything.'' Sabatini exploited that delicacy to the max. Several compositions feature riveting blends of subtle horn tones to produce sounds distinctly different from their component parts. Radley's guitar work moves through phases of introspection and spastic, squalling outbursts. Sabatini's generous, inventive compositions manage to handle all the ingredients brought into the project. While the tones and textures move from song to song (and within most songs), Sabatini writes with a consistency best described as a storytelling style. ``I want a theme and subplots,'' he said. ``I think about all the ways stories get told. It's not the same form from story to story. Even the way a typical day goes never stays the same. Even when you wake up thinking a day will go one way, it very well could go another way.'' That sense of possibility shines in Sabatini's songs and throughout the CD. Consider the back-to-back setup of ``Still Night Everywhere Reigning'' and ``Geraldo's Hideaway.'' The former is long and pensive, full of yearning and soul searching, while the latter conjures images of romance and bravado. Sabatini, who lives in Leominster and has built the Sonic Explorers with a stable of Worcester County talent, said he's constantly composing and creating for this project. It is with pen in hand that he wants to be viewed as the leader of the Sonic Explorers. On the bandstand, he's just another horn player. ``I play in this band, and that's a separate job from being the composer. I didn't set this up for me to be the featured player. When we talk about the compositions, that's when I'm featured,'' he said. The Sonic Explorers celebrates the release of ``So Far, So Near'' with a show beginning at 8:30 p.m. Saturday at Zara Jazz Club, 320 Main St., Worcester. The band also will perform from 7 to 9 p.m. Nov. 24 at The First Church Unitarian Universalist, 15 West St., Leominster. If you really dig this stuff, Kakalla, a band with Sabatini, Kneeland, Radley and Connors featuring Kneeland's compositions, plays from 3 to 5:30 p.m. Sunday at Village Congregational Church, 5 Church St., Whitinsville.
Best Local Jazz Act Jerry Sabatini's band of mind-expanding compatriots return to defend their title as Worcester's favorite jazz act. And it's really no mystery as to why the five-piece ensemble's popularity continues to grow. 1) They are the area's best contemporary act, and they (along with Sabatini's side project Thomson Kneelend and Trio Kakalla) are among jazz's best-kept secrets. 2) Their second disc, Beatnik Oblivion, has yet to be bested locally. Besides taking you on crazy, mood-filled rides, it's not too complex for casual fans while being challenging enough for the more versed. 3) The band's compositions are anchored by Sabatini's strong underlying melodies, making it perfect for radio play. 4) The Explorers can translate to a younger rock audience. They're the flagship band of Worcester's new jazz scene. Even if this seems like analytical drivel, Sabatini and his troop are still the best thing to happen to this town in 20 years. Maybe that should be good enough. -- John O'Neill Sonic Explorers take top honors in music poll For the second straight year Sonic Explorers have been named "Best Local Jazz Act" in a regional music poll sponsored by the Worcester Phoenix magazine. The successive honors surprised group leader and Leominster trumpet player Jerry Sabatini. "The award was great. We didn't expect it this year," he said. "It really made us feel 'Wow!' It's nice to get that kind of feedback from people. It keeps you motivated." Given the Sonic Explorers' first two CDs ("Birth of the Kakalla" and last year's "Beatnik Oblivion"), motivation is not a lacking commodity in this seven-piece jazz outfit. Wonderfully fluid songs are crafted by Sabatini, who also plays the flugelhorn. Townsend's John Vaillancourt plays saxophone. The balance of the group hail from the Worcester and Providence, R.I., areas including drummer Mike Connors, bassist Thomson Kneeland, trombonist Rich Ardizzone, sax and flutist Mark Weissman and pianist Joe Parillo. This summer, the Sonic Explorers will be recording "a bunch of new music," according to Sabatini. The band's live performances will be limited to their regular gig at the CAV Restaurant, in Providence on the first Saturday of every month. Their next show is July 1. The new recordings promise to be "slightly different," said Sabatini of his intent to have four horn parts in the music. "With more voices in the band it makes the arrangements thicker," he said while acknowledging that "with more possibilities come more restrictions." While working on the new material for Sonic Explorers, however, Sabatini, Thomson Kneeland and Mike Connors plan to keep their live chops up through performances in the Worcester area as Trio Kakalla, the spin-off brainchild of Kneeland. Trio Kakalla? "Yeah, yeah. It's kinda weird," laughed Sabatini. "It's a completely made-up word. We actually started using it with Sonic Explorers (the name of their first CD). It represents jazz in another direction. The 'kakalla' is a style. I like the way it looks and sounds, and it's really funny to hear other people say." Trio Kakalla was also a nominee in the regional music poll and holds down a regular slot on Wednesdays at The Java Hut, on Main St. in Worcester. Trio Kakalla puts a new spin on jazz offerings Influenced by many, beholden to none. That seems to be the guiding principle of Trio Kakalla, a bright spot along the area jazz spectrum. At a recent performance by Trio Kakalla, a listener could have detected traces of folk music associated with the Middle East, India, European and South American countries, all of it fit into a framework of American jazz; and that's jazz from many eras. Acoustic bass player Thomson Kneeland leads Trio Kakalla, which is rounded out by trumpet and flugelhorn player Jerry Sabatini and drummer Mike Connors. The band is an offshoot of the Sabatini-founded Sonic Explorers, a band that first aired Kneeland's composition "Kakalla" and dubbed its debut compact disc "Birth of the Kakalla." The roots of the trio go back to 1996 when Kneeland, Connors and Sabatini took to jamming in the trumpet player's basement studio. "We were experimenting with free music," Kneeland explained. "We came up with our own personal form of folk music." "Kakalla" became the made-up word to describe the musical hodgepodge the trio found itself creating. "We're into mixing elements. We're not trying to reproduce a tango or Bulgarian folk tune. As a group we're open to anything and can course through all types of styles during a concert. Actually, make that during the course of a single song. 'Appalachian Death March,' for example, is a Kneeland composition based on traditional American folk with layers of tango music and a classical fugue tacked on. Then we deconstruct it all and Mike can play whatever kind of beat. He can be doing a rock beat and Jerry can be playing the blues by the end of it," Kneeland explained. A set by Trio Kakalla can run from quiet atmospherics to boisterous cartoon-like music with all of it somehow making sense within the context of the band. And this small combo can generate an impressive arsenal of tones. Kneeland alternately plucks and bows his bass. Sabataini switches between horns and applies various mutes to tamper with tone. And Connors' versatility behind the drum kit is marvelous to watch as he bops from hand drumming to gentle brush strokes to frenetic timekeeping. While the musicians are busy, Kneeland does a good job controlling the free spirits. The self-taught bass player said that he approaches his compositions with a story or a theme in mind, and that helps him hold together the varied ingredients in a song. The band also offers a good balance of improvisation and composition. Trio Kakalla has been playing out for the past eight months and maintains a Wednesday night residency at the Java Hut, 1073 Main St. (Webster Square), Worcester. Accordion player Art Bailey has been playing with Kakalla at the Java Hut, adding many new ethnic textures to the sound, Kneeland said. The band starts its Wednesday night shows at 9 p.m. Trio Kakalla will be on break Jan. 19, but is at the Java Hut tomorrow and Jan. 26. As for branching out, Kneeland said he hopes to get the band into some summer jazz festivals and down into New York City's Knitting Factory. Kneeland said the band is also looking to make a CD in the spring. "Having the trio has taught me how to get into the sound of each player," Kneeland said. And what he manages to pull out of those players is truly unique to the area. Twist and shout
Sonic Explorers toss another string of pearls before swine I have this vision I just can't shake. It's just before daybreak, and the clubs on St. Mark's Place have cast out the last of the stragglers. Steam rises in a slow, steady belch from the manhole covers. The first pigeon wing cracks overhead, as the remaining few wander out of the cigarette-smoke darkness onto the desolate street, step over the discarded McDonalds bags, suck in the last of the evening, and begin the trek home. The smell of bread baking. The sound of feet on cobblestone. A transvestite heading home on broken heels. Across town another garbage barge rides the current down to the fetid mouth of the Hudson. Another night withers, the vampires head for the shadow of concrete and steel, and the street sweeper swishes past, lingering as a hum in the distance. Maybe the muted strains of the Sonic Explorers' "Beatnik Oblivion" had transported me, because it sure felt real. More likely, the music had just thrown the mind's eye a tremendous curveball, because the next time it plays, I never leave the empty sprawl of downtown Worcester. The third time ends in imagined gridlock. But it never feels any less real. Jerry Sabatini, the song's author and de facto leader of the Sonic Explorers, has seven more moody tricks up his sleeve on the band's outstanding second disc, Beatnik Oblivion (Nada Brahma). The CD-release party will be held this Saturday, January 16, at the Above Club, and it promises to be an evening of incredibly sublime and passionate entertainment. "When I compose, I get visions that I expand on," says Sabatini from his home in Leominster. "There's a lot that goes through my mind. The main thing is, I try to reflect my current life experience, to write music in the present. If you approach [songwriting] with the utmost sincerity, people can relate to it. . . . It is a personal statement. Region, day, year, all the tunes I've written were people I knew, places I knew. I had Leominster, 1998. This is my folk music." Since forming five years ago, Sabatini and his (mostly) steady line-up have explored a range of sound while producing the most interesting, refreshing, and honest jazz compositions in the area. It is modern, improvisation coupled with obvious influences rooted in the Great American Songbook; the result of which is an astounding soundscape that sails a steady course between safe landmarks and uncharted waters. More important, the Sonic Explorers are practitioners of pushing jazz in new directions while remaining relevant. Free jazz, thought to be the ultimate in improv-expression, seems automatically inconsequential by virtue of its inherent lack of structure. There is no where left to go except back to structure -- which is exactly where the Sonic Explorers reside. Through high-caliber musicianship, Beatnik Oblivion resonates with the joy of unlimited freedom, breathes new life into the art of jazz, and stretches horizons, all while remaining completely accessible to the casual fan. "I wanted to get more composition, more structure in there," Sabatini says, when comparing Oblivion to the group's more improvisational 1995 effort, Birth of the Kakalla. "I'm getting more involved with composition, but we still wanted improv playing that could generate the energy of the first [CD]. We wanted to cover as much ground as possible." Beginning with the title track, the Sonic Explorers cover plenty of turf. Sabatini's trumpet intertwines beautifully with John Vaillencourt's sax playing and Joe Parillo's piano on the moody and cool jazz of "Election Year Jive," while the groove-bottomed "Ol' Man Pops" finds the trumpet and sax almost heading off the chart in the opening measure, back to shadow each other, locked in a point/counterpoint dogfight that threatens to break out of control, but just as quickly taking a sharp turn back into shadowing each other. The 13-plus-minute "Cafe Barada" takes the listener on an Eastern-influenced trip that showcases the entire ensemble's improvisational skills (Sabatini's flügelhorn trilling is especially fleet, and his vocabulary of tonal resources deep) as well as their ability to exercise restraint. It's a perfect balance of plumbing the depths to find what's inside each musician's soul, while retaining a reverence for the framework of classic arrangement. What makes it so fun, is the specter of the unexpected that lingers around the corner in every piece. It's an element that is also vital to their live shows. "When you play with a high caliber of musician, you leave it up to their instinct where to take a song. You take it where you want. I don't worry about what happens, because even if it isn't like it was written to be, it's still going to be good," Sabatini explains. "It's like being in the woods without a compass, and the sun just went down. It's a little scary, but it's also exciting." If nothing else, the Sonic Explorers prove beyond a shadow of doubt that they are a world-class ensemble lost in a city where the jazz community is far more interested in more conventional fare. The same "traditionalists" who champion the Great American Songbook have reacted to Sabatini's original material with much the same reaction you might get if you gave a lab monkey a bright rubber ball to inspect. Maybe a glimmer of recognition, perhaps holding their attention briefly, more likely uninformed indifference. The fact that the Explorers have performed in front of an audience of 10,000 at Vermont's Discover Jazz Festival, while never earning an invite to neither the WICN Brown Bag Lunch Concerts nor the Jazz at Sunset series speaks volumes of the Worcester jazz elite. A band as original as the Sonic Explorers may never find a home among a crowd that generally regards Toni Ballard and Emil Haddad and Dick Odgren the final word on cool. "I'm scrambling to get two gigs a month," says Sabatini, who, for the record, is cordial and complimentary of the Worcester jazz scene. "We're still working up to making a name. Hopefully the CD will get us into other rooms. The bigger clubs are looking to talk to an agent . . . so we're looking into getting one. I don't have the time to correctly market the band." The thought of eventually becoming something more than an oasis of beauty in an ocean full of crap would seem to be a reasonable final destination for the band, though it wouldn't make much difference in the end to Sabatini, who admits, "I'm in it for the long haul, because it's so personal. I'll be doing this forever." In a perfect world, we'd all be listening to Sabatini's life-as-music experiences from a front row seat at a sold-out Mechanics Hall. |
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