by Nick Stubblefield
There are a lot of musicians that dedicate their careers to making experimental music. There are a lot of others that just want to create something that's melodious and fun to listen to. Jazz saxophonist Chris Potter is one of those rare artists that successfully blend both these elements into something fresh, funky, and fantastic.
Chris Potter brought his Underground Orchestra to the Jazz Standard on Saturday night. Housed underground, the red of the stage backdrop projects an aura of warmth reflecting the passionate nature of jazz. Good sound mixing, excellent acoustics, and comfortable seating give it all the signature characteristics of a good Manhattan jazz club.
Potter kicked off the set with a funky, post-bop groove before segueing into the night's featured number, his own four-part suite "Imaginary Cities." The suite kicked off with a passionate, mildly melancholy introduction from a string quartet. It was several moments before Potter finally entered, moving the tone instantly from classical chamber music to that of a film-noir score. After a couple more moments, a hard hitting groove entered underneath the texture which drove the piece more aggressively forward and moved us into fusion, post-bop territory.
Photo by Siebe van Ineveld, http://www.siebevanineveld.com/
The performance was centered around Potter's impressive sax chops. Potter's playing was deeply expressive and melodic, with just the right amount of virtuosic riffs sprinkled throughout. The orchestral arrangements served largely as a backdrop for Potter's masterful playing, but the string quartet was given plenty of great solos. The rhythm section got its chance to shine, too — the guitarist was particularly tasteful, with a clean technique. I was also impressed with the balance between electric and upright bass. Each player had their moment to shine, while somehow retaining clarity in the low-end.
The show wrapped with a series of three pieces, also from Potter's Imaginary Cities album. "Firefly" made use of modern and avant-garde composition techniques, but quickly found a joyful beat which was accentuated by some great unison playing in the strings, vibes, sax, bass, and drums. "Shadow Self" extended the avant-garde ideas further, with a neoclassical string quartet introduction, while "Sky" closed things out with an entrancing, slow pulse and a superb build to the end, thanks in large part to the impressive drumming work of Nate Smith.
Calling Chris Potter's music "experimental" doesn't really paint an accurate picture, but labeling it "jazz" isn't right either, conjuring thoughts of pleasant dinner music. Regardless of what you call it, it's great music and great art.