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Originally named for a Rufus Wainwright song, it was perhaps inevitable that Vicious World would eventually devote an entire album to this underrated contemporary singer-songwriter. That doesn't make the prospect any less daunting, considering the sharp turns and blind alleys associated with Wainwright's deeply idiosyncratic style.
But Vicious World, a septet co-led by saxophonist Aaron Irwin and trombonist Matthew McDonald, matches the music's mysterious melodicism with an expanded lineup that also includes lush textures from violinist Eliza Cho and cellist Maria Jeffersnotably on the elegiac Memphis Skyline." Their interesting reimaging of 11 Wainwright songs, recorded in South Philly, is set for release today from Spinaround Records.
It's an album of lasting depth, filled with both poignant pauses and plenty of swingno small surprise. Going to a Town," you realize, has a structure not that all different from the standard Autumn Leaves." Other times, Plays rocks a little: Guitarist Sebastian Noellewho along with bassist Thomson Kneeland is part of the well-regarded Aaron Irwin Group, embedded belowrips off a jagged guitar signature to This Love Affair," adding a gnarled danger to Vicious World's stomping second-line beat. Drummer Danny Fischer then amps that rat-a-tat rhythm up to a baroquely militaristic fever pitch on Matinee Idol."
Then, there are these sensitive arrangements from Irwin, also featured on clarinet and flute here. That's perhaps best heard on Dinner at Eight," a swirling delight. (Irwin handled the charts on seven of the tunes here; McDonald arranged the rest.) McDonald, who has appeared with the Lincoln Center Jazz Orchestra and Ken Peplowski, is particularly expressive on Natasha," a lithe bit of romanticism.
Taken together, Play the Music of Rufus Wainwright ends up as an intriguingly complex amalgamone part unrequited love poem, one part swinging chamber jazz, one part contemporary classical ensemble. And really, unlike anything I've heard before.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.