WEEK OF 12/27/2019

Jaimie Branch / all 📷 : Ricardo Adame

I don't go to a lot of jazz shows and this was my first time seeing all of the musicians that graced the Bottle stage Friday night. It was also my first time working with fellow photographer Ricardo Adame. He had seen most of these musicians play in all sorts of ensembles/combinations. I've been hanging out with Ricardo at shows for most of 2019 and hearing about all of these experimental improvisational crazy amazing performances he goes to. When photographers meet at a show you exchange Instagram handles and check out each others shows/work. I knew I wanted to be Ricardo's friend when I saw his photo of someone swimming in a pool with a cello. He obviously had knowledge of things happening in Chicago I had no clue about. He has been enriching my experience of the Chicago Music scene ever since. So when Kyle recommended I cover this show and knowing that Ricardo was going, I saw a perfect opportunity to pull Ricardo's work into the Chicago Crowd Surfer arena. 

But I wouldn't have gone out to cover this show if I wasn't interested/intrigued by the music. As we waited for the show to start Ricardo commented that he wondered who would be playing. Every time he has seen Ben LaMar Gay, it has been different. Listening to his top tracks on Spotify, I believe it. There is a vast variety. As he and his three band members took the stage, a solemn vibe fell over the venue. Three of them played handbells. Muting them by grasping them by the bell so hollow thunks and rattling sounds bounced around my head. The drummer used cowbells and different surfaces of his kit in complicated succession to provide depth of sound. When they finally let the bells ring out, an impression of sacred prayer quickly developed into a sense of play as they moved the bells in a variety of ways. Gay led each shift in movement, which his two musicians quickly adopted and adapted. Suddenly it all changed. The drums gave us a jazzy hip-hop rhythm that was as surprising as it was perfectly delicious. The second song made use of electronic elements and a tuba to bring a low end that hit me in the gut. Every song had a different feel, atmospheric, NOLA, latin. No matter the influence, it was clear that his first occupation was to experiment with sound; no matter how he struck the keys, or held the bell, Gay also brought movement and proximity of the microphone into play. The aural effect was sometimes almost vibrato like. Compositionally, the music was laced with noise. The audience stood cooly, taking in the intricate fluctuations between noise and melodic rhythm and back to noise. It was engaging to not know where he was going to take us next. It almost felt like we are discovering the music as they played. That feeling is something I can see wanting to show up for, again and again. 

There can be no place better than standing on stage with a venue full of friends and devotees. Jaimie Branch said hello to people as she set up her case and instruments. She got on the mic to give a special shout out to her mom, “Somebody give her a seat!” She started by playing her trumpet with a metal mute pressed flush to the microphone. It had an otherworldly, effect and as she pulled back and moved the horn in wider circles the sound fluctuated and shifted. As the audience showed their appreciation for “birds of paradise” Jaimie remarked that here was a group that knew the album. And FLY or DIE II: bird dogs of paradise is an album worth knowing. I relished in hearing my favorite tracks explored and adapted to this four piece. The themes and rhythms I was attracted to were electrified by the performances. Not just of Branch, but also her stellar band, whose talents were on full display. There was an interlude with syncopated rhythm by cellist Lester St. Louis hitting his strings and Jason Ajemian thumping the body of his bass. The clicks of Chad Taylor hitting the rims of his drums adding a high end that I truly didn't want to end. But when the cello began it's plaintive notes I thought I heard a vocalist. It was a beautiful moment hearing proof that a cello sounds so much like the human voice. A long echo swirled his playing and I felt swept up. It was truly moving. Through the whole performance Branch held the stage with a swagger, directing the band and leading them through the landscape of her music. I have to give a shout out to the NOLA style jazz tune, “simple silver surfer” that made me want to take to the streets in second line style celebration of Jaimie Branch. A perfect penultimate tune. She ended with none other than what has to be my favorite, saying by way of introduction, "This one goes out to all the assholes and all you clowns. You know who you are." I guess even assholes and clowns deserve a love song.

 -Tina Mead