Saw a couple Transparent Productions shows the past two nights. On Monday, Rashanim, a rock trio who have played interpretations of John Zorn’s Masada songbook, played as part of the Washington Jewish Music Festival. I went with a couple friends (who happened to be Jewish) who absolutely loved them. They played Masada songs that didn’t sound very much like Masada, or very Jewish either for that matter. It was, as Steve Feigenbaum said, all quite jam-bandish. I liked them well enough — it was a fun show, very accessible, and the band went through their set playing a pretty wide variety of styles, from rock and jazz to surf to funk. They were really fun to watch as well. I wish they’d stretched out a bit more and gotten more “out,” but on the other hand my favorites of what they played were the slower, more nuanced and melodic material.
Tuesday night was Satoko Fujii & Natsuki Tamura. Fujii is one of my absolute favorite jazz musicians active today. In the interest of brevity, I often call her an “avant-jazz pianist,” but in the wake of last night’s show this is clearly a totally inadequate description. While she’s known for jazz, she’s classically trained, and this came through in a big way last night. A lot of what she played had as much to do with Western classical music as it did with anything that swung or was jazzy in any sense. She has an amazing knack for going off on intense, Cecil Taylorish tangents and then returning, suddenly and delightfully, to slow, contemplative, beautiful melodies. Tamura was also a revelation on trumpet, playing with feeling and a wide variety of tones and styles. I generally prefer Fujii’s compositions to her husband’s, but his trumpet playing is definitely nothing to sneeze at.
The show was quite demanding, attention-wise, as the two played for over an hour straight, with no breaks in between pieces; I recognized a bunch of the themes but it was often difficult to tell when they had moved from one “song” to another. The music was generally unpredictable, but in a tantalizing way: Fujii in particular would hover over almost-melodies, but instead of playing them out, she would veer off onto different melodies that, often as not, were even more delightful than what came before.
A “difficult” show, and one that generally focused on a more abstract side of Fujii’s than what I’ve heard from either her Orchestra or Quartet lineups, but a fantastic one. I’m thankful that they came to DC to play for an tiny audience of about 15 dedicated folks.