DanceFest
Realistic Orchestra
REALISTIC ORCHESTRA
Review by Icono Clast
Appeared on UseNet Groups ba.music, ba.general, ba.dance, March
19, 2003
The Realistic Orchestra's initial
performance was in Bruno's Cork Lounge on
February 25, 2003. (It'll happen again on Tuesday, April 1 at 9:30,
$5.) This
was promised to be an experimental group with new music and the promise
was boldly fulfilled!
I have no idea how to
classify or describe this gig's music. I can say that the music was
good and great fun was had by all, the tightly-packed musicians as well
as the sardine'd audience.
I was reminded of the
Don
Ellis (trumpet) Orchestra's gig on Broadway many years ago. I believe
he used a tape recorder to produce samples to create new sounds and
effects. DJ Aspect performed that task this evening, I think. I say “I
think” because Leader Adam Theis, drummer Eric Garland, and
vibra- harpist Michael Emenau had electronic devices with which they
fiddled. I have no idea what they were but I heard what they did, I
think. I know what I heard but I often didn't know its source or how
many of the sounds were created.
The rapper “for those who
don't like Rap” Dublin was among the high points of the evening. Not
only does he have a very nice voice, his raps were filled with humor
and absent, if I heard correctly, misogyny, violence, and words that
might offend some. Although he did not sing, he slid through the music
with unexpected jazz feel and skill.
But did they swing? Oh, yes, they did swing! Much
of
the
music was
danceable but there was no room to do so.
My favorite number of the
evening was the vibist's “Softly” recognizably based on “. . . As In A
Morning Sunrise”.
There were many fascinating
solos and four-trades. Adam's work on the largest and fanciest
didgeridoo I've ever seen was a blast!
Drummer Eric Garland did an
outstanding job with what I think was difficult material. Adam's
7-string bass and trombone work were excellent. And Adam remained in
full control of the wild goings-on throughout the evening even seeming
to be in control of the cacophonies.
When the benefit for Gene Gilbeaux happened at The Great American Music Hall with his Swing Orchestra, David Hardiman's San Francisco All-Star Big Band, and the Rudy Salvini Orchestra, the place was packed but many who I know weren't there claim to have been. I think this will come to be known as a very important evening in the history of San Francisco music. I think people who were not there will claim to have been.
The orchestra
consisted of the Realistic core group of Adam Theis (7-string
bass, trombone, didgeridoo, loops, and electronics), Joe Cohen (alto
sax, elec- tronics), Michael Emenau (MNO) (Vibraphone, loops, and
electronics), Eric Garland (drums, loops, and electronics), and DJ
Aspect (turntables, electronics) augmented with Alex Budman (alto sax,
clarinet, and flute), Kenny Brooks (tenor sax), Mitch Marcus (tenor sax
and clarinet), Colin Stetson (baritone sax), Dave Scott (trumpet), Mike
Olmos (trumpet), Henry Hung (trumpet), Dave Chachere (trumpet), Mike
Rinta (trombone), Joel Behrman (trombone and trumpet), Vladimir Tcheken
(trombone), Marc Bolin (bass trombone), Ryan Newman (upright bass),
Dublin (vocals).
Those obviously very serious musicians appeared to be younger than 40,
most younger than 30 in a congregation that I believe should have far
greater exposure. Many times during the evening, the thought "We should
be at Davies" flashed through m'mind.
Not only am I glad I went,
I'm looking forward to the next appearance of the Realistic Orchestra
at Bruno's on April
1.
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