Search - Pearl Django :: Modern Times

Modern Times

Strum N. Drang | Collingswood, New Jersey | 08/08/2007

(5 out of 5 stars)

"With the exit of Greg Ruby, the addition of new member David Lange, and with several guest artists making a variety of contributions, the new Pearl Django album might seem, on the surface, an essentially disparate or transitional work, from a band undergoing unsettling changes. Dig deeper though, and one discovers a good deal more continuity than is first apparent. Greg Ruby's absence is well covered by Pete Krebs and Ron Peters, both lending strong rhythm support and even Greg appears here and there on the album. As for the new member? Well, yes and no: David Lange has officially joined the band, but he has long been an adjunct member of the band, playing accordian on every album since Mystery Pacific, back in 1998, handling the band's recording engineer duties, going all the way back to the debut album, and generally providing a sort of "fifth Beatle" role in relation to the band; well, now he is a full-fledged member and a valuable one, as it turns out. As for guest guitarists, Ron Peters playing is eerily reminiscent of the late great Dudley Hill. Rob Nolan, featured soloist on two pieces here, has had a long association with Pearl Django, going back to the very first Djangofest Northwest on Whidby Island. However, while there exists this chain of continuity in terms of associations and band personnel, I was initially struck with the sensation of stumbling upon some new dispensation of musical expression - a more modern sound and sensibility, and bearing the title "Modern Times", this seemed to be the announced intention of the band, as well. However, repeated listenings (and this is an album that definitely rewards repeated listenings) demostrates that the signature Pearl Django swing and pompe are still in abundance over the course of the entire album, and that Modern Times contains all the hallmarks of the best of Pearl Django music. Actually, what I initially heard as "modern", could more accurately be described as artful complexity. Careful attention to arrangement is apparent throughout, and the band exudes an utterly joyful musicality, made possible by every member acting as full participant and each one an accomplished soloist; a hard-won musical symbiosis is achieved on this album that would simply not have been possible in earlier incarnations of the band, a symbiosis in which intricately arranged sections, almost fugue-like in effect, and collaborative improvisation are saleint features of music that still swings as hard as it ever did on previous albums.

Right from the start, Smile, the first number on the album, has that Dudley-like rhythmic snap that had me looking on the insert to see if the piece was some outtake from Paris Skies, or Avalon, until I realized that Pete Krebs is on rhythm and thoroughly catches that snap and momentum so strongly reminiscent of Dudley. The joy captured here, right at the outset, annouces that Pearl Django is at their peak. Then with Missoula Flood, there is this complexity of arrangement, a musical maturity that has been developing over the last few albums. Micheal sounds great, and the surprise for me is to hear what a great jazz musician David is - surely noted in Chasing Shadows, but substantially reinforced in this album (in many places). The interplay between violin and accordian makes for a very interesting listening experience. Then Chutes continues with the intricately arranged head - reminding me of those old Red Norvo, Mingus, Farlow small group arrangements. Rick's punchy bass lines provide a great backbone to this piece, a stand-out as ensemble playing - which is to say, symbiotic in nature, everyone contributing great stuff and yet no single player overshadowing others. Mulhollond Bounce really captures a very so California vibe - I used to live there - in which one realizes halfway through that, what seems to be a relaxing piece, is actually exuding something closer to serenity. Guitarist Neil Andersson has the uncanny ability, as soloist, to catch a different sort of feel on each tune - and that is something not many players can do - for it is much easier to play "one's style" on all tunes - maybe varying the improvisational aspects but retaining the basic style; whereas Neil's playing on this album is comprised of many contrasting feels and stylistic leanings. Saskia is more typically recognizable as one of Michael's tunes - very nice how all three soloists contribute to the head, beautifully accomplished. The phrasing of the guitar solo is a self-contained lesson on the effiecient, and even courageous, use of space; while David Lange's solo, on accordain, contains some fantastic interval leaps - what a great addition to the band he is. Robin Nolan's playing on Once in a While is so incredibly expressive - and surprising: sort a slow bop, almost mid-50's Farlow-esque feel and confidence about it, and yet Rob has his own thing as well (because I only have early Rob Nolan Trio albums - I was unprepared for this level of musicianship). Nolan brings out the best in Pearl Django's playing as well: Michael has never sounded more Grappelli-esque in his phrasing, and Neil's solo makes extremely artful use of double-stops and sinewy chord insinuations. The Conversation is a strong manouche-like composition by Rick, and the thing that really hits me is the arranging again, including great interplay between accordian and violin. The time invested in arranging has really paid dividends this time around. Great Neil Andersson solo on this tune, rhythmic variety is accentuated in the melodic line - and I could say the same of David's accordian solo, all of which makes this album very....musical. Listening to David Lange's accordian on September in the Rain is a thing of joy, and the chordal solo, supplied by guest guitarist Ron Peters is so very reminiscent of Dudley - even Ron's single-note lines played here have a Dudley-like punchy-ness and something of that round-edges-musical-logic quality. That light rhythm support is fantastic too - a little bit like Bucky. Sombre/Le Rubis is darkly expressive and then the clouds lift and tempo steps up. Again, tight and supple ensemble playing in evidence. Warm Valley - like Must Believe in Sping on the last album, Pearl Django includes a sweet and melancholy number and, man, is it ever nice to hear that contrast to the more swing-oriented and pompe tunes that preceded - a peaceful repose of sorts. L'Indifference finds us on gypsy-fied ground again. Listen to how the guitarist's improvisation is superimposed over the violin part, and they manage to pull it off so extremely well. Rob Nolan - what an intro! (Black and Blue) He has this affinity for blues - whose simplicity (deceptive simplicity) and eloquent phrasing say so much more than someone firing off a barage of notes. Like Neil, Rob Nolan seems to know how to hold back on the instrument, how to make his less say more when he wants to express it that way. Cheek to Cheek - brings the project full circle, finishing with the feel of swing that initialed the album. Nice rhythmic drive, and Micheal's light touch on violin too, and the jaunty, angular solo Neil provides...nothing short of Django-esque. Totally compelling, especially the round robin of soloist volley - again, as ensemble playing, the three gifted soloists over the impeccable swing rhythms - it just doesn't get any better than this. Not to be redundant, I greatly appreciate the variety of musical expression exhibited here - different dimensions of jazz and manouche, an array of musical colors...all these combine to make an album that one can listen to and enjoy for a long time and never tire of. Thanks again, Pearl Django!

"

Great sounds!

R. Sawyer | Sacramento, CA USA | 11/09/2009

(5 out of 5 stars)

"There just isn't enough Gypsy Jazz out there theses days, but Pearl Django is doing its best to keep the genre at the forefront. Some really nice arrangements here of both classics and new tunes. Put it on the portable, put a blanket out on the back lawn, open a bottle of red wine and slice up some baguettes and cheese, and enjoy!"

Delightful

Kimberley Browne | 02/13/2008

(5 out of 5 stars)

"I own a children's art studio and am always searching for cheerful, pleasant background music. This was perfect!"