The American Dream

The American Dream - Music by Frank Carlberg / Poetry by Robert Creeley
9/14/6 @ New England Conservatory

Frank Carlberg Quintet:
Christine Correa - voice
Chris Cheek - tenor sax
Frank Carlberg - piano
John Hebert - bass
Michael Sarin - drums

This jazz quintet presented a 12-part jazz suite, composed of 11 songs set to the eclectic poems of Robert Creeley.

As a stand-alone performance piece, this was a bit long to sit through - perhaps around 8 songs would have been more reasonable - due mainly to the lack of variety. At first, the simple sonority of vocals and tenor sax over modern, dark, and quirky harmony sounded fresh and novel; after a second tune, somewhat less interesting; and near the end, a little dull. The main problems were the rarely-changing format (head - solos - head - blah blah blah), the similarities of the melodies themselves (maybe 3 archetypes: the riff, the slightly atonal free, and the really long notes), and perhaps most notably, the narrow harmonic range. Most songs were heavy on aeolian and inverted-triad dark modern harmony, occassionally with flashes of Keith Jarrett-ish gospel/bluesy influence.

Granted, one might say that this very monochromatic atmosphere was a necessity of setting Creeley's poems - most of which are similarly odd in a distinctive way - to lyrics. Nonetheless, more variety would have made for a more enjoyable two hours.

Some nice moments included two extended unaccompanied solo spaces for the drummer, Michael Sarin, and the bassist John Hebert. The latter took an extremely creative solo which used random atonality and wide/random intervals to create more sound than melodies - which was extremely refreshing within the gray stillness of the surrounding tunes. Likewise, Sarin had an extended romp near the end of the suite, utilizing his cymbal stands and sides and bottoms of drums to expand his palette of sounds. Also very effective were the transitions between sections, which were mostly seamless and subtle (and clearly well rehearsed!).

All in all, what could be improved? Overall - and this ties into the variety issue noted above - it would have been much more fun to listen to had the music been as experimental as the concept behind it. Why not, for example, try something different from the traditional instrument roles? Why not have the piano walk some basslines, and the bass double the melody with the singer? Or set the lyrics not to a melody, but to a background figure for solos? (This was actually done once, but only for about 16 measures.) Or, why have everyone playing all the time? - Why not break down into a duo or trio for a solo or two? Or why not extend what limited free playing there was into more than an interlude?

...But we all can go on and on about breaking down barriers and 'thinking outside the box' forever. Despite the lack of overt innovation here, it was still a good show and an interesting artistic amalgamation.