It isn't every day that the Microsoft Corporation and the jazz community intertwine. Some may find this concept hard to grasp, but for the folks at the Albright-Knox, it is a reality.
Saturday night, the Albright-Knox Gallery played host to the Microsoft Art of Jazz Series. As the third of four installments, this eclectic evening at the gallery showcased one of the jazz world's brightest and most promising trios, The Bad Plus.
Just weeks after the release of their sophomore Columbia Records effort, "Give," The Bad Plus are taking their talent on the road. The band has gathered tremendous accolades in recent months and performed at countless jazz festivals across the globe including a spot in Tennessee's Bonnaroo Festival, one of the largest summer festivals in the country.
As the evening started, it was clear that the Albright-Knox is actively pursuing a younger audience. A notably diverse crowd packed the theater of the gallery, awaiting the Midwestern trio.
Without hesitation, the three-piece began the evening with a medley aptly titled, "The Voice From Space," named after pianist Ethan Iverson's favorite piece in the gallery. Chaotic but melodic, this tricky tune began the evening displaying drummer David King's breathtaking and heart-stopping abilities on the kit.
King could slow the beat down on the drop of a dime and flip that dime instantaneously to exhibit hellacious fury. His facial expressions told the story of two opposing personas, battling one another for the spotlight, each struggling mightily to fend off the other.
Throughout the evening, King's abilities and intensity on the drums were the focal points of the trio's sound. It was a sound of constant tempo and time changes that allowed for not just a steady supply of composed material, but also a solid amount of group and individual improvisation.
Songs like "Dirty Blonde," which appears on "Give," allowed for the audience to fully grasp the immensity of the sound that lay before them. Quick hitting and smooth, "Dirty Blonde" showed a band with tremendous group solidarity; a band that was so in-tune with itself that it could probably play in its sleep. King's mad scientist approach led to some tasteful interplay between him and Iverson on the baby grand piano, resulting in a polyphonic texture comparable to new-school jazz pioneers Medeski Martin and Wood.
During the band's performance of "Three Flames," King played drums with his bare hand. A pleasing rendition of the Pixies' "Velouria" had the room buzzing with delight as Iverson's dexterity and feel for the piano took charge.
The Bad Plus played two extremely enjoyable sets. Their smiles and head bobs were all reciprocated by an overwhelmingly eager and attentive group of onlookers.
Photo: Meredith Forrest Kulwicki
