Date: May 3, 2015
Venue: The Skinny Bar And Lounge (NY)
Review and video by Dawoud Kringle (video by courtesy of Subtle Realms Trio)
On a beautiful evening, the first Sunday of May 2015, The Subtle Realms Trio was scheduled to perform at the Skinny, a bar on the Lower East Side. The Subtle Realms Trio is Dan Kurfirst (drums, percussion), Ben Cohen (saxophones), and Will McEvoy (bass). A new project started by Kurfirst in the early part of 2015, Subtle Realms evidently seeks a more sublime musical element to build from.
As the performance began, Kurfirst counted a tempo, and with light brushes, he and the bass began a dark ostinato. The sax came in and added a layer of color to the slow, thoughtful mood. The sax solo was fascinating. He seemed more intent upon underscoring the intended mood of the song than in exploring the technical possibilities in the music. Yet, he proved to have no lack in technique; his mastery was obvious. The drums made beautiful backdrops that shifted and shimmered against the bassist’s melodic trek.
Their second piece was an cautiously optimistic thing in 6/8. The bass took a passionate solo that seemed to wrestle the music out if his instrument as if his life depended on it. The soprano saxophone returned and brought things to another level and another mood.
This was followed by a piece that began with a meditative duet between bass and sax that had a strangely Indian feel. Then, they moved into a neo-jazz territory. They flew above the place one expected it to go, and played “free.” Then Kurfirst took an all too brief drum solo where the ride cymbal ushered in an uptempo frenzy the others soon locked into and ride with reckless abandon before stopping on a dime.
Next, was s song that immediately suggested “jazz.” Returning to soprano saxophone, Cohen brought out a Brubeck/Oregon mood before McEvoy took over with a bass solo. Cohen rejoined and the song disassembled itself and the fragments reassembled them in ever changing new patterns. After wild journeys through strange lands, they returned to the jazz they began with.
Mallets on cymbals and a pulse on the bass brought in the next piece. The saxophone played soft colors over the muted backdrop. The bass solo on this was more understated than the previous solos. Kurfirst’s soft pulse and splashes of color, and Cohen’s occasional comments painted an interesting and contemplative picture. The music evolved into increasing shades of harder colors and more defined shadows.
They concluded with a playfully angular groove that took sharp twists and hairpin turns around unexpected harmonies. The bass and drums went at each other like two warriors in an old Kung fu movie while the soprano saxophone flew above them, and then swooped down and joined the fight. Suddenly, Cohen and Kurfirst laid out and McEvoy took a bass solo that brought the music to a very different mood. Then the other rejoined, and the three combatants were now negotiating peace. An agreement was reached and on a sudden end, they went their separate ways.
There’s a coda I must attach to this review. This performance almost didn’t happen. Circumstances beyond anyone’s control prevented them from beginning on time. However, after an expenditure of furious effort from the venue, the band waiting, and finally being allowed to set up, and yours truly whiling away the time playing chess on my iPhone and listening to John Coltrane, the show went on.
It was worth the wait. The Subtle Realms Trio lives up to its name.
