ࡱ> 5I@ jbjbqq l$D; Zj$,% E^&& B T<T3 ;;What the press has previously said about: THE MICROSCOPIC SEPTET TAKE THE Z TRAIN PRESS [P4003] 1983 Lineup: Phillip Johnston (soprano sax), Don Davis (alto sax), John Hagen (tenor sax), Dave Sewelson (baritone sax), Joel Forrester (piano), David Hofstra (bass, tuba), Richard Dworkin (drums) Four saxes (soprano to bari) and rhythm section make up this swing band with a twist. The Micros are a New York Lower East Side-spawned outfit with a truly distinctive sound that pumps Basie boogies, zestfully shifts from tangoed unison to Dixieland discordance with Mingus precision, and spins off sax solos that reach Eric Dolphy free and Earl Bostic blue within the same tune. With that much of the tradition mastered, this is one band that can afford to be seriously original and share a playful humor uncommon in New York jazz circles Filled with jerky Monkishness fluid reed arrangements, false endings, and titles like Chinese Twilight Zone, Z Train is fueled by the compelling compositional talents of pianist Joel Forrester and saxman Phillip Johnston. (4 Stars) Ashley Kahn, The Rolling Stone Jazz Record Guide swinging jazz blended with R&B and a host of other influences, full of twists and turns, yet remaining very catchy and accessible. Much like the musicians that made up Spike Jones City Slickers in the 1940s, only some very talented players could follow these demanding charts; yet unlike the comparison to Jones records, there is nothing that is obviously or purely cornball about this music. definitely check out the hard to define but very enjoyable compositions within this CD. (4-1/2 Stars, AMG Album Pick) Ken Dryden, All Music Guide, www.allmusic.com the first album by The Microscopic Septet. At turns, it sounds like the Four Brothers meet the World Saxophone Quartet or Charles Mingus plays Willem Breuker or vice versa. It is as if the entire history of improvisatory music is on parade. The music is joyously schizophrenic. Within the first 90 seconds of the opening cut, the rhythm goes from mainstream Jazz to rock back to mainstream into latin over to swing. Johnston likes to throw curves into each of his compositions. The title tune starts with a quiet bass solo with sympathetic piano backing that changes quickly into a syncopated rhythm a la Fletcher Henderson with a perverted Three Blind Mice thrown in before a cacophonic ending. part two is a blazing boogie-woogie replete with a growling tenor solo and flying staccato piano riffs that give way to a blustery baritone coda. Pianist Forresters tunes are just as crazy. For instance, Mr. Bradley/Mr. Martin sounds like a mixture of Cole Porter and Klezmer music. Both composers utilize the rhythm section fully, especially drummer Dworkin. He is not content with just keeping the beat he pushes and prods, adding melodic fills, signaling the changes and making them sound effortless. Take The Z Train is an intriguing blend of froth and substance that will keep the listener off stride throughout. So, crank up the volume, roll up the rug, and let it roll. Be forewarned one dose is addictive recommended! Richard B. Kamins, Cadence, Vol. 10, No. 4, April 1984 Few records released in 1983 exhibit as much wit, precision, and panache as this left-field entry by a saxophone-quartet-plus-rhythm-section that juxtaposes everything from tangos to Ellingtonian reed unisons to schlock like Those Were the Days. To give such rampant eclecticism cohesion, the delicious scores by soprano saxophonist Phillip Johnston and pianist Joel Forrester use the full potential of the horn front line The absence of familiar names in the personnel and the vicissitudes of small-label distribution will keep the album a secret from many, but you shouldnt be among them. (3-1/2 Stars) Boston Phoenix, March 6th, 1984 this four-saxes-and-rhythm unit swings hard enough to convince the most dubious listener that even the jokes are meant affectionately. The music here sounds the way an Art Deco spaceship looks elaborately stylish and utterly impractical. But it manages to get off the ground anyway, rising up through a swirl of ragged ensemble passages and freewheeling solos. In sum, this may be pseudo-jazz, but it sure has a good time at it. (3-1/2 Stars) Baltimore Sun, July 3rd, 1983 This album is a real treasure! With a line up that features four saxophones, bass, drums and piano, The Microscopic Septet plays a funky mixture of swing, be-bop, and lounge jazz, with avant-garde accents, New Orleans sass and a touch of humor. The Microscopic Septet boasts a lifetime of professional experience. Members of the Septet have worked with such diverse artists as Tom Keats, Carla Bley, Gong, Material, Mike Mantler, Jaki Byard, The Contortions, Edwin Hawkins, Swollen Monkeys, Peter Kuhn, The Waitresses, Baird Hersey and choreographer Twyla Tharp. Take The Z Train features seven upbeat, if off the wall, pieces that incorporate quick changes, odd time signatures, intricate arrangements and downright amazing sax solos. Phillip Johnstons four compositions are sax-laden swing efforts that illustrate the sonic capabilities of the horn section, while Forresters three pieces are geared towards an ensemble sound. From the big band approach of Chinese Twilight Zone to the beautiful piano work on I Didnt Do It and the style collage of the title track, The Microscopic Septet has turned Take The Z Train into the most entertaining fake jazz album since the Lounge Lizards debut. This colorful and adventurous set is recommended to open-minded listeners or anyone who fell in love with the Lounge Lizards (4 Stars VERY GOOD) Ken Hall, March 8, 1984 It is far out, but scenically, intelligently and enjoyably so. This is a jazz band. Real jazz. Not free jazz, fringe jazz or fake jazz, although theres a little of each of those bags herein herein meaning their new album, Take The Z Train It sounds quilty and quirky, but somehow the dynamic is organic and the structure makes perfectionist sense. The title track is a quiet excursion at first, bass cryptograms, offhand drum punctuation and a pretty sax solo that drifts from melancholy to chatty the band picks up the chatter and while the drummer doubles time the boys in the band rollick up a ball, smart and natty as the Duke, urbane and naughty as SMACK HENDERSON. It coolly moves to a perfect conclusion and the jokes on you because then the guys rock out like HANK MANCINI riding shotgun for PETE GUNN, taking bluesy corners on two wheels and gallivanting to a perfect stop on a dime. Then fake you again. Here comes a cool coda of after-hours smoke filled baritone On the basis of that one song Id say that this is my favorite living jazz band. Here are seven non-dwarfs who play jazz that is popular music without any loss in the H.I.Q. department (Hip Intelligence Quota). these lucky seven symmetricize the lopsided and get things on an eccentric roll. This is now my favorite jazz band and one destined to please adults of all ages. They swing, they rock, they bop, they exude food for fun, prophesy cool nights for the future near and far out. Glenn OBrien, Interview, Glenn OBriens Beat: E-Z Glistening June 1984 This little big band has been compared to Lawrence Welk on acid but just as fruitfully might be described as Thelonious Monk on Duke Ellington, or even the Lounge Lizards on edge. Sharp, linear compositions are here belted out con gusto by a tangy instrumental combo whose members have performed in various aggregations of the Rova Saxophone Quartet, Carla Bley, Gong, Material, Peter Kuhn, the Contortions, and God knows who else and somehow miraculously manage to integrate em all into some hard-core loco-motion laughing its way from the funky to the sublime, daddy-o. Richard Gehr, L.A. Reader, Sound Mix The Microscopic Septetare talented cut-ups whose knowledge of jazz styles dating back to Fletcher Henderson allow them to contrive clever comedy of juxtaposition. From Chinese Twilight Zone to A Strange Thought Entered My Head, Johnston delights in nudging toney dance arrangements with raw rock & roll and r&b charts. Ellingtonian reed fanfares, Rova-like contrapuntalisms, and false endings. Surprisingly, given shifting time signatures, it all swings together kudos to the rhythm trio. Hofstras self-effacing, Dworkin underplays the older idioms hes mastered, and Forrester is an imaginative accompanist whose comping, as well as compositionsswirl into the modernist stream The Microscopic Septet has fun but also has something to say and the ability to say it (4 Stars) Howard Mandel, Downbeat, December 1983 take 4 saxophonists who are coming from a background as diverse as rock (Swollen Monkeys, Material), jazz (Eugene Chadbourne, Carla Bley, David Moss), etc. & add piano, bass, & drums. What you get is an amalgamation that kinda sounds like the Rova Sax Quartet with rhythm section played more for laughs. While not at all similar, I suspect that people who enjoyed the 1st Lounge Lizards lp will like this hybrid of the playful & bizarre mixed with jazz/improv. if you like the idea of a new wave oriented jazz act, this will tickle your palate. Steven Feigenbaum, OP, The S Issue, September-October 1983 THE MICROSCOPIC SEPTET LETS FLIP! OSMOSIS [6003] 1985 Lineup: Phillip Johnston (soprano sax), Don Davis (alto sax), Danny Nigro (tenor sax), Dave Sewelson (baritone sax), Joel Forrester (piano), David Hofstra (bass, tuba), Richard Dworkin (drums) This second release, a concert album from the Netherlands, proves that 1983s delightful Take the Z Train was no fluke. The groups impertinence might be the first thing that strikes you about thembut when the initial shock wears off, youll find yourself responding to the sumptuousness of the four-saxophone voicings and the finger-popping kineticism of the writing (by pianist Joel Forrester and soprano saxophonist Phillip Johnston, both of whom deserve to be better known). 4 Stars Excellent Francis Davis, The Philadelphia Inquirer, August 2, 1985 The Microscopic Septet, a freewheeling band full of humor, cut only four records over the course of their lifespan andthey were all a great deal of fun. Lets Flipgives a reasonable overview of their work. Pianist Joel Forresters The Lobster Parade (fans of the Micros, as they were popularly known, came to expect the frequent appearance of the term lobster in their song titles) is the band in microcosm: a swinging, almost cha cha rhythm that resolves into a rendition of the chorus from Hey Jude and then into free blowing. The tinge of avant-garde playing was, in fact, what gave the group the necessary bite to keep them from falling back into saccharine routines. the stars of any Micro recording were always the compositions, generally by either Forrester or Johnston. The formersoften have an irresistible pulse combined with gorgeous melodies and secondary melodies, scrumptious in and of themselves and serving as fine vehicles for soloing. Fans of Willem Breuker or the ICP Orchestra will find much to enjoy in what was, in a sense, their American counterpart. (4 Stars) Brian Olewnick, All Music Guide, www.allmusic.com New Yorks Microscopicsshare Dutch bandleader Willem B.s penchant for hopalong sax riffs, dance-academy latin steps, r&b tenor solos, and prankish interpolations. Like Breukers Kollektief the Septet boasts an arresting saxophone section led by a hot-oil soprano whose sound is thick as frosting and zippy as Pepper. The foursomes intonation is so precise, even the homiest and most harmonium-pure voicings sound gorgeous. But while the Septets music helps map the slow globalization of new jazz, Breukers is but one influence operating here, and the Micros humor is not Breuker broad or manic. (The tango-til-you-chuckle Lazlos Lament is closer to the relative composure of Carla Bleys band.) the Scopics refract radio pop from several eras: Forresters and Johnstons catchy rolling-riff tunes place us somewhere between Kansas City, a lounge, and a sock hop. This is a band that plays pretty and hot. Not surprisingly, those saxes sound as slinky apart as they do when blended. The reedfolk take tuneful, accessible solos on plain chords, playing with taste and imagination (and without a whiff of commercial pandering), and making it sound easy the rhythm sectionrely on self effacing perfect timing. a well-timed reminder that it takes more than four bright saxes to illuminate this Magnified Seven. (4 Stars) Kevin Whitehead, Downbeat, Feb. 1986 The group seems to have smoothed their rougher edges while retaining their swing on LETS FLIPa jovial conglomeration of tunes recorded live in Rotterdam. Theres barely a serious moment on the seven cutsas the Septet leaps gaily from the goofy samba of The Lobster Parade (replete with a swatch of the Beatles Hey Jude) to the gentle sway of Why Not and its mild mixture of reeds. Lazlos Lament sounds like Rabel filtered through Carla Bley with kudos to Xavier Cugat. There is so much happening on this album and much of it is musical. do you like WSQ? William Breuker Kolliektief? How about The Champs (Remember Tequila)? The Microscopic uses those influences and many more to create music that both your brain and your feet will love. Recommended! Cadence, Vol. 11 No.12, December 1985 an absolutely joyous ensemble, playing material that is lively, swinging, uplifting and even clever. Compositionally and rhythmically, the bands material is grounded in pre-Bop jazz, featuring brisk swing-band arrangements and some klezmerish sections as well. But that doesnt keep modern sensibilities out of the proceedings or keep the horns from going over the top. Just when you think youve got these guys pinned down, theres some free-blowing squeals to confound all expectations, perhaps followed by a number which is entirely within the bounds of pre-War jazz conventions. Good clean fun, recorded live. Bob Sled, Option Offers humor and true bouncerich tones and harmonic depth. Really worth checking out if youre serious about your music but not so serious that you cant enjoy it. (RECOMMENDED) Billboard, Vol. 97, No. 28 The Microscopic Septet attacks its music with a healthy and at times outrageous sense of humor. But that doesnt mean that the Micros play fake jazz (John Luries unfortunate coinage) Lets Flip!, recorded live in Rotterdamdoes confirmThis is an original band, with the chops to handle the jazz vocabulary and the irreverence to stand it occasionally on its head. Its also eclectic without resorting to hodgepodgery At the heart of the Microscopic Septet is an unusual four-saxophone front line. their ensemble work is exquisite Johnstons Why Not? is three-and-a-half minutes of gorgeous melody with nary a solo to be heard. improvisation takes a back seat to composition and teamwork. The Micros humor can be bracing But you never doubt that this group is awake, and you never know what theyll do next. Of few bands can either of these claims be made with confidence Peter Keepnews, Musician, October 1985 THE MICROSCOPIC SEPTET OFF BEAT GLORY OSMOSIS [6006] 1986 Lineup: Phillip Johnston (soprano sax), Don Davis (alto sax), Paul Shapiro (tenor sax), Dave Sewelson (baritone sax), Joel Forrester (piano), David Hofstra (bass, tuba), Richard Dworkin (drums) The off-kilter melodies tinged with noir, the tight, richly arranged horn lines, and, above all, the mischievous humor of the compositions are all still intact. Pieces like co-leader Phillip Johnstons Baghdad Bluesturn on a dime from a smoky torch song to a carousing, rhythmic dynamo. this was the first recording to feature tenor saxophonist Paul Shapiro, who brought a wonderful robustness and soul to the band By You, Do You Mean You or Me?, which closes out the album, is a fine encapsulation of what the band was about: A romantic, winsome opening theme on soprano merging into a raucous rhythm & blues stomper, with baritone player Dave Sewelson on top roaring while the band layers riff after inspired riff behind him and eventually lapses into a gorgeous dirge. Off Beat Glorycontains more than enough special moments to make it well-worth the purchase. (3 Stars) Brian Olewnick, All Music Guide, www.allmusic.com the Microscopic Septet, a remarkably versatile (and funny) New York City group whose work has been attracting more and more attention. Their latest release is Off Beat Gloryand its terrific. The Micros swing hard from the first note of Brooklyn In The Fifties, an updated jump tune that sets the mood for the whole album. The rhythm feel is straight from the 40s, but the solos especially Dave Sewelsons berserk choruses on baritone sax are strictly late 80s. Joel Forresters arrangements make intelligent use of the bands resources, and the septet often fools you into thinking that there are four or five more horn players hiding under the chairs. the ensembles are as bright and snappy as a David Letterman monologue. Besides you have to love a band that plays tunes like March Of The Video Reptiles and hires William Kotzwinkle to write zany liner notes. these guys should be a lot more famous than they are. Their music is well-written, their playing cooks, and everything they do is accessible Downbeat, May 1988 THE MICROSCOPIC SEPTET BEAUTY BASED ON SCIENCE (THE VISIT) STASH [ST-276] 1988 Lineup: Phillip Johnston (soprano sax), Don Davis (alto sax), Paul Shapiro (tenor sax), Dave Sewelson (baritone sax), Joel Forrester (piano), David Hofstra (bass, tuba), Richard Dworkin (drums) Beauty Based on Science ends their all-too-brief career on a high note. the pieces take their cues from a multitude of sources, including film noir soundtracks, Ellington, barrelhouse blues, and Steve Lacy, all performed with an odd combination of homage and tongue-in-cheek, spiced with a liberal dose of free jazz in the solo work. Their horn arrangements are possibly richer than ever, shown to great advantage in compositions like Come From Behind (a small classic and frequent live performance highlight) and Johnstons Rockys Heart. Forresters bouncy, infectious Lobster in the Limelight, also a band mainstay, offers another example of the Micros at the top of their game, with its giddy riffs providing exactly the right balance and support for all manner of free soloing When the bandmembers break out into synchronized handclaps, its impossible not to crack a smile (4 Stars) Brian Olewnick, All Music Guide, www.allmusic.com One of New Yorks favorites, this large combo with the tiny name offers entertaining musical melanges that range from swing to bop and beyond, with a surplus of good playing and good humor. Standouts from an outstanding set include the splendidly romantic The Visit, the soulful Rockys Heart, the glass-smooth, cucumber-cool The Dream Detective, and the delightfully insouciant Lobster in the Limelight. (RECOMMENDED) Billboard, Vol. 101, No. 9, March 4, 1989 Their approach to jazz is infectious scan the unorthodox liner notes, presented in strip cartoon format with off-the-wall, tongue-in-cheek text and completely wild captions/song titles. How about Lobster In the Limelight, Infernal Garden Blues or Waltz Of the Recently Punished Catholic School Boys? This group walks a fine line between mockery and fun but always gives the music and its sources full value. A record to shake you out of routine and lethargy. Lois Moody, Ottawa Citizen, October 21, 1988 Imagine that both Raymond Chandler and Firesign Theatre were jazz musicians. Then combine the two and you have a fairly close approximation of the wacky jazz noir this oddball crew creates. Micros new LP rambles across almost every conceivable musical border, often within the same song and always with a technical flair and a twinkle in the eye. Theres the cubist ragtimesome nuevo tango psychosurprisingly straightforward boogie And thats just the start of the bits and pieces from the body of music that these mad jazz scientists sew together. The result is one Beauty of an album. Chris Heim, Chicago Tribune, Audio/Video: New Albums 10/7/88 Why is everyone overlooking this delightful band? Could it be because humor is suspect in jazz and the Microscopic Septet puts a humorous spin on everything it does? cheeky homages to Duke Ellington, Charles Mingus and Thelonious Monkhighlight their third (and best) album. Among its other virtues, this group has the levity of a klezmer band and achieves as rich a four-saxophone blend as youll hear outside of the World Saxophone and 29th Street Saxophone Quartets. More important, the soloists eschew the wanton virtuosity of which they seem more than capable for selfless thematic development which makes sense, given that the material, by soprano saxophonist Phillip Johnston and pianist Joel Forrester, is so choice. Posterity is going to remember the Microscopic Septet as one of the best bands of the 1980s (4 Stars) Francis Davis, The Philadelphia Inquirer, Home Entertainment Aug. 25, 1988 Best New York Band Hardly Anybodys Ever Heard of: The Microscopic Septet Francis Davis, End of the Year (As We Know It): Picks and Pans Jazz in 88, 7 Days, Jan. 11, 1989 THE MICROSCOPIC SEPTET FEATURE ARTICLES & LIVE REVIEWS a rangy, inventive and somewhat self-consciously street-smart jazz band that plays meaty riffs and boasts several earnest soloists Gary Giddins, The Village Voice, Vol. XXX, No. 7, February 12, 1985 The Microscopic Septet isanother full-size anything-you-can-do-we-can-almost-as-well band of lively neo-classicists. Like the European eclectics (Breuker, Globe Unity, Vienna Art Ensemble), they play mix-and-match with jazz, shuffle, tango, march, and rock rhythms, but they arent as ardent or political or outlandish. Instead, they have the virtues of unaffected neighborliness; this is a street band inspired by new wave jazz rather than rock, one that doesnt mind pitch deviation but can close in for precision ensemble work when required Most of the pieces the Micros play during a set are short, so the soloists have to get to the point right away always a good idea. The instrumentation is unusual in that theres no brass, just four saxophonesand a rhythm section The reedmen make a strangely felicitous union, each with his own way of veering out of tune. Their idiosyncrasies level off, however, when they converge for the spirited and highly schooled ensemble passages. In fact, the bands chief delight is the way the saxes scurry in and out of step with each other, as the rhythms and metersmutate from one genre to another. The Micros arent deep, but they are lots of fun. Between them and the bar, heads bob and fingers pop. Im told theyve played for dancing, and thats the way Id like to hear them. The wonderfully offhand zest of the Micros would provide challenging accompaniment. Their metrical change-ups can be complicated as well as precipitous, especially since they like to compound their fractions The Microscopic Septets album, Take the Z Trainhas selections representative of the tight little pieces they played live Two especially interesting moments are the pyramidal climb up and down various rhythmic styles in A Strange Thought Entered My Head and the Monk-like ballad writing for tenor on the title selection. In each instance, they obviously know what theyre doing. But like any good street band they dont make a big deal about it. Gary Giddins, The Village Voice, Thinking Small Dec. 20, 1983 Would you buy Lawrence Welk on acid? Thats how Phillip Johnston describes the music of the Microscopic Septet, whose appealing, idiosyncratic brand of original swing compositions hardly seem to jibe with the individual musicians astonishing network of rock n roll/new wave ties as either past or present members of such groups as the Waitresses, Raybeats, Our Daughters Wedding, Tin Huey, Mofungo, Swollen Monkeys and Public Servants. Together for two-and-a-half years, the Septetare all aware they could be involved in more commercial and remunerative projects, but their commitment to an American musical form that pre-dates rock n roll remains unswerving. Nowadays jazz is much more cult music that people dont identify with, Johnston observes. But when people come to see us theyre able to forget they dont like jazz. Thats the element of surprise the personal style of the group cuts through preconceived notions. There may be boogaloo and funk sections, but the basic feel is swing in the most danceable sense, although were not just imitating swing bands of the 30 and 40s. Nostalgia prevails nonetheless, from the groups open reverence for Thelonious Monk to their irrepressible cover of Zequina Abrews Tico, Tico, to having recorded their first albumdirect to two-track basically the way they did it in the 50s, according to Johnston. There was no mixing, no overdubbing. We even used Seltzer Sound, where Eubie Blake used to record. As far as the Micros know, theyre the only predominantly swing band that works the rock clubs. Theres not a readily available precedent for a band of this type, Johnston claims. But our music is very formed. Were not just a bunch of eclectic styles tacked on to one another. We unite them by our experience. Mary Anna Feczo. Record, The Microscopic Septet Gets Into The Swing Of Things July 1983 Strange thoughts enter ones head when listening to the Microscopic Septet, the Lower East Sides best-kept musical secret. Last year the Micros first album, Take the Z Train, was released by Press Records; it is still getting heavy rotation on my turntable. Z Train, with its many plot twists and turns, is the headiest collection of new swing music to come along in quite some time. Written by Phillip Johnston (soprano) and Joel Forrester (piano) Z Train mirrors the time changes and moodswings of a typical Micro performance. Influences begin in the 30s with swing and conclude in the 60s with secret-agent music. The rest is original Unlike other retro-swing bandsthe Microscopic Septet breathes life into the past while keeping a clear eye and ear on the present and future. Pretty melodies, nice chord changes, jumping rhythms, say Johnston. Thats what were about. Microscopically speaking, of course. Steve Bloom, New York Beat, May 16, 1984 The Septet reflects the nouvelle cuisine that flavors so much modern jazz. This eclecticism is a many-colored style in itself. The Septet has been affected by Duke Ellington (in its voicings and in the work of Johnston and Davis, who suggests various sides of Johnny Hodges) and by the satiric doings of Carla Bley and Archie Shepp. It likes old blues riffs, free Ornette Coleman jamming, Charles Mingus tempo changes, and a steady four-four beat. It makes whinnying sounds and Queen Mary roars-devices that go back at least to the Original Dixieland Jazz Band. The group smiles a lot The New Yorker, July 22, 1985 The Microscopic Septetdelivers a fractured overview of jazz. Playing in styles laced with nostalgia, the septet specializes in era-hopping, grafting a blues stomp into a rhumba or a reggae to a boogie-woogie, or bending swing harmonies into Bartokian angles. The Septet can sound like a ragtime orchestra, with tuba instead of bass, in neo-cakewalks by the pianist Joel Forrester; in the saxophonist Phillip Johnstons tunes, the saxophones can evoke a reduced swing band or a soul horn section. The results are as good natured as they are antihistorical Jon Pareles, The New York Times, Concert: Minimalist and Jazz Nov. 4, 1984 the Microscopic Septet, wholl cheerfully take on the job of introducing erstwhile funk-a-teers to real j-a-z-z Robert Christgau, The Village Voice, Vol. XXX, No. 14, April 2, 1985 At Noe Valley Ministry, SF, Saturday, Oct. 11th the Micros roared and wafted through terrific little big band arrangements for four saxophones, piano, bass and drums. The small audience responded to the offbeat blend boogie woogie, boozy music hall sounds, keening klezmer and march music, R&B, jump blues and lounge lizard and straight-ahead jazz with loud, spontaneous cheers. The band played such representative tunes as A Strange Thought Entered My Head and Lobster in the Limelight from its three albums Take the Z Train, Lets Flip! and the forthcoming Offbeat Glory At one pointpianist Joel Forrester used a broomstick to conduct the band from the Ministrys pulpit. At another, the band members donned fezzes to blast through some rousing dance grooves. While the septets humor would make it a perfect choice as house band for a Robin Williams late-night talk show, it plays music with all the smooth-gliding precision of the Blue Angels and the robust energy of the Count Basie Orchestra. Dont miss these joyful lunatics next time they lurch through town. Derk Richardson, The San Francisco Bay Guardian, After Dark Soprano saxophonist Phillip Johnston likes to think that the Microscopic Septet is building a bridge between rock and jazz. Actually, its more like a spiral staircase between the two genres that the New York-based grouphas forged with its delightfully offbeat calypso-pop-Dixieland-noise-swing music. We are trying to take the essence of what jazz started out as, which was the same thing rock n roll music is: It was fun and you could dance to it, said Johnston At the same time, he continued, the music can be technically proficient and have ideas. I dont see that conflict in rock and I dont see why there should be a conflict in jazz. We want our music to express the natural joy of playing that has gone out of a lot of jazz. People have this image of jazz as cult thing thats serious and intellectual. But it started out as pop music. Formed in 1983, the Microscopic Septet consists of musicians who have performed with acts as diverse as the Waitresses, Swollen Monkeys, the dBs, James White, the Raybeats and the ROVA Saxophone Quartet. After several years playing New Yorks punk scene in various bands, however, the musicians decided that as they reached their 30s it was time to move on. Despite a stockpile of enthusiastic reviews from the New York Times, Downbeat, Village Voice and Rolling Stone for their concerts and two albums 1983s Take the Z Train and the new Lets Flip, recorded live in the Netherlands the bands difficult-to-categorize music has been a stumbling block for some audiences Weve had some people who think you cant be totally serious and totally humorous at the same time, Johnston said. Thats a difficult dichotomy to accept, but thats the idea behind this band. Randy Lewis, Los Angeles Times, Oct. 23, 1985 A band like this should not be allowed to slip through the cracks into obscurity. Four saxophonists who can sound like an Ellington reed section or an inebriated swarm of bumble bees swing and sway over an equally far-ranging rhythm section. Their two records, Take the Z Train (Press) and Lets Flip! (Osmosis), with such tunes as Pack the Ermines, Mary, The Lobster Parade and Boo Boo Coming, are wonderful examples of zany/serious jazz adventure. Derk Richardson, The San Francisco Bay Guardian, Critics Choice: Nightlife Oct. 23-30, 1985 Any jazz fan would have been delighted with the Microscopic Septets Sunday evening performance at the Arena Theater. There was something for every jazz junkie: stride piano, bossa nova drumming, full-blown big band horn charts, abstract saxophone solos. That only outlines their musical sensibility. The wide range of styles seem to capture a varied audience. As pianist composer Forrester noted, their recent tour has brought them to art centers, dance halls, rural movie houses and poolhalls. All of the audiences like what we are doing, but for different reasons, he explained Indeed, the Microscopic Septet appeals to both toe and head. The music is complex and fascinating, incorporating dramatic swings in tempo and tonal ranges. Boo Boo Coming, the bands obligatory reggae tune begins not in rastafarian style, but with four saxophones playing charts akin to a classical chamber recital. With this lyrical passage complete (superbly executed), drums and bass kick in and the band could be honking away in a Kingston bar. Some of the songs contain five or six such distinct leaps from genre to genre On top of this intensely intellectual work, the music stands by itself. This, of course, is its strongest merit The musical variety is absorbing, at times comical, lyrical, romantic and irrestibly funky. Sometimes all of these things at once. One wonders, can serious music survive in the age of MTV? The worst part of the Septets show Sunday is they played their hearts out to a microscopic but enthusiastic crowd. Perhaps the World Series was the evenings entertainment priority. What a shame. Rob Wells, Independent Coast Observer, Nov. 1, 1985 The Microscopic Septetis a group that draws from far and wide for its musical inspiration Dixieland to punk, bebop to avant-garde, classical to r&b. Band member Joel Forrester says that the original songs played by the Septet have one thing in common: They have to swing. Newsday: New York Edition, NY Tonight June 30, 1986 Reserved. Traditional. Reverent. The Microscopic Septet are none of these. Break all the rules but respect all the saints is the zen-like credo offered by saxophonist Phillip Johnston, co-leader of the Micros, a refreshingly original little big band that swings, bops, and blows free, vaulting stylistic barriers while making it all sound new and integrated Ashley Kahn, Downbeat, May 1987 This jaunty street-smart band plays as though jazz were something they figured out during recess, like doo wop Gary Giddins, The Village Voice, Vol. XXXI, No. 37, September 16, 1986 Soprano saxist Phillip Johnston says theres a strangeness to life that pop music tries to deny. Some of the brilliantly original music that he has written and arranged for the lively Microscopic Septet (which he leads) reflects that point of view. One minute the four saxes will each be veering off madly, the next theyll be swerving together through an intricate, tightly-knit passage vaguely reminiscent of something Eddie Sauter might have scored, the next the tenor sax (Paul Shapiro) will be surging fervently into rhythm-and-blues. collectively theyre really onto something, and something unique: a kind of Zen jazz. What theyre doing recording LPs for an unknown company (Osmosis) and playing one night a week in a fairly obscure room, is a mystery. For this is as inventive and spirited an undiscovered small group as youll find anywhere. Chip Deffaa, New York Post, December 9, 1987 The Microscopic Septet throws free-jazz tone clusters, swing-era saxophone riffs, rhythm-and-blues honking and Dixieland and be-bop colorings into a style-pulverizing blender, then adds a leavening of humor. At Sweet Basil on Monday, the bands four saxophonists and three-man rhythm section poked fun at some of the formalities of conventional jazz presentations while expertly navigating their challenging, tricky arrangements. The Microscopic Septet is a downtown ensemble that doesnt really play jazz, or pretend to, but instead plays music about jazz. In this regard, the group resembles the Lounge Lizards, who are more concerned with atmosphere and style. One might also compare the Microscopic Septet to the Ordinaires, who similarly delight in generic mayhem and cultural collisions but are more broadly eclectic. Another common factor linking these bands is their emphasis on arrangements and group personality, as opposed to the emphasis on individual improvisation that is characteristic of jazz. The Microscopic Septet stands out in this company primarily through its command of idiomatic detail the group summons the sound of the Ellington orchestra, or the feel of a 50s rhythm-and-blues band, with a few well-chosen phrases and sonorities. And the musicians affection for their sources is always evident; its what keeps this clever recombinant music-making from becoming mere pastiche. Robert Palmer, The New York Times, June 5, 1987 the groupmixes dry humor, wit and on-stage antics with superb musicianship to create a presentation that is serious fun. The band delivers a wide range of music that immediately brings to mind the black and white TV era of the 1950s. Dressed in cheap dark suits and slightly cocked pork-pie hats they shape sounds that suggest everything from cartoons to detective shows. Never directly quoting their sources, the septet chooses to paraphrase. They toss in bits and pieces of things from everywhere. Catchy little phrases may sound familiar, but youre never really sure where youve heard it before. Short Tall Sally, Right Now featured some gorgeous writing, full of rich harmonies for the quartet of saxophones. Baghdad Blues recalled the joyous jump tunes that Jimmie Lunceford recorded in the 1930s. The first set ended with Lobster in the Limelight, in which all the members took on the appearance of conventioneers wearing maroon fez type hats with long black tassles The second set was filled with more train wrecks in the middle of hay rides, TV theme music, and tongue-in-cheek, zany humor that made for the perfect music on this Halloween weekend night David Sneade, The Student Voice, Nov. 2, 1988 Whats odd about the Microscopic Septet is not what you see but what you get. Yes, theyll don red Shriner fezzes to perform Lobsters On Parade, but the costumesare less noteworthy than the melange of skewed melodies, ersatz Latinisms, polished sax harmonies, jazz history-ranging rhythms and seriously expressive solos on Offbeat Glory At first hearing, Micros music sounds ha-ha, not weird funny maybe the result of Forrester and Johnstons fast grabs at ensemble styles familiar to children of the television age as soundtracks for animated cartoons. In subsequent listens, their music reveals kinks of lyricism and irony that distinguish it from retro-vision. The Micros mood is almost always upbeat, their tunes catchy, their precision impressive though never prissy. I see our music as good-natured, but theres a certain strangeness about life that pop music tries to deny, to convince you that Really, everythings all right. Johnston declares. Once you realize everythings not all right, and its never going to be all right, a certain humor comes with that. And thats all right. But our music, if its nothing else, is definitely jazz, continues the sopranist, who dislikes style bands that play music about jazz, rather than jazz itself. Jazz is something thats always changing, so of course our music is different than the way it was in the Fifties. It incorporates all the things weve experienced. Respectful of such jazz giants as Charles Mingus and Thelonious Monk, as the chief Micros arethey accept the post-modern tag as long as its recognized were part of a musical process that started a long time ago and will be going on long after were a record, Forrester stipulates. Always before in modern times, the latest thing was the only thing possible, and you had to completely dump on everything that already went down, explains the pianist Back then, there was a definite avant garde. Now, I have the feeling that the human race is the avant garde. So youre completely free to take from all the elements, all the modern forms brought forward. The Micros can throw one thing right next to another, and as long as it swings, its okay. Its gotta swing, Johnson concurs, whether its Latin or R&B or straight-ahead blowing. Orchestration is really important in our music, too using the instruments as effectively as possible. And people say we sound like more than seven instruments. In fact, thats one of the ideas behind our name: that our arrangements and orchestrations are reductions of a big band for a small group. But swing thats the foundation of what we do. Seems like some other jazz artists have built careers on the same foundations, suggesting the Micros arent so odd after all. Howard Mandel, Music & Sound Output, Bound for Glory Everybody has a favorite band. my favorite band is an outfit called the Microscopic Septet, an aggregation of amiable and brilliant zanies. They make a kind of music that is exhilarating and almost defiant of description vaguely New Waveand fronted by four different types of saxophones The Microscopic musicians mesh bebop and Kentonian modernism with a combination of wit, intelligence and drive that is completely their own The group almost always plays original compositions bestowed with literary appellations such as The Lobster Parade or Brooklyn in the Fifties They will, however, occasionally apply their considerable talents to some idiosyncratic classic such as Thelonious Monks Mysterioso or his haunting Crepuscule With Nellie. Their appearances are fervently received by an adoring constituency that threatens to become a cult, and Beauty Based on Science, their fourth and latest recording, generally occupies a place on the shelf next to the first edition of The Day of the Locust. In short, there is nothing quite like the Microscopic Septet, and if I were you, I would run, not walk and certainly not jog, to hear them the next time they blow GQ: Gentlemens Quarterly, Merkin on Style Feb. 1989 When I replace Lettermanthe Worlds Most Dangerous Bar Mitzvah Band has to go. The band Im considering as a replacement is the Microscopic Septet, a New York saxophone quartet (plus rhythm) whose riffs do what riffs are supposed to do: set your pulse racing and stick in your noggin for days on end What most impresses me about the Microsis their resistance to the easy temptation of eclecticism as an end in itself. This is quite an accomplishment for a band that resolutely packs so many non sequiturs into every single piece of music it performs. Take, for examplelast years Beauty Based on Science (The Visit)the Septets fourth and best album so far. What mattersis that none of the albums tracks is a stylistic hodgepodge, because the level of musicianship is so high that nothing sounds tossed off. The Micros rehearse together at least once a week regardless of whether they have a gig coming up Counting the arrangements of Monk tunes and the contributions of Ohio saxophonistBob Montalto, the groups repertoire includes 135 compositions, less than a quarter of which have been recorded. In Johnstons pieces, Monk is refracted through Steve Lacy, who is also Johnstons chief influence as a soloist; I havent heard another soprano saxophonist who comes closer to capturing the quizzical tilt of Lacys lines. I would guess that many of this bands allusions are unconscious, the inevitable result of its members having played so many different kinds of jazz and pop. In its proud New York pluralism, the Micros music bears a philosophical resemblance to that of John Zorn, who not surprisingly is an ex-Micro. But the Micros acoustic orientation, blurrier juxtapositions, and sense of jazz as a way of life rather than one genre among many results in a kinder, gentler postmodernism than Zorns cool jazz cum speed-metal. So why arent these guys rich and famous, or at least universally adored by those in the know? As locals without national reputations, the Micros lack the mystique it takes to impress New Yorkers And I suspect that some are alienated by the very qualities I find so endearing in the Micros: their lack of sanctimony and the way the concise horn solos work like stop-time breaks in early jazz. In this band, composition doesnt stop when improvisation begins; solos have to relate to not only the opening theme but the many secondary themes that follow. the Micros cheeky humor might be an even bigger stumbling block at a time when jazz is regarded as deadly serious business. Some critics who should know better have even equated the Micros with the Lounge Lizards and bohemian fake jazz With their in-joke titles and coy liner notes by literary absurdists Richard Foreman, William Kotzwinkle, and Ron Padgett, the Micros admittedly are sometimes too clever for their own good. But on the bandstand, their high-spirited humor is difficult to resist. This is a band than knows how to have fun while going deep, and one would think that, with proper exposure, that combination would give them widespread appeal. Somebody oughta put these guys on TV. Francis Davis, 7 Days, Lets Get Small March 8, 1989 only now, eight years, four albums and two continents later, is the group beginning to attract the wider recognition it no doubt richly deserves. Why now? Just a combination of things, suggests Johnston. One of the key elements is simple longevity. We do something unusual, and we had to keep doing it. Also, the idea of combining different styles of music in an integral, holistic way is starting to come into its own. At the start, it was considered outlandish to combine tangos and waltzes and jazz and rhythm-and-blues. Nowadays it seems to have caught up with us. The Microscopic Septetthrows free-jazz tone clusters, swing-era saxophone riffs, R&B honking and Dixieland and bebop colorings into a style pulverizing blender as one critic put it, then adds a leavening of humor. But the band is neither Lawrence Welk on acid (a description given out flippantly by Johnston and long regretted) nor a 1980s Spike Jones. Our emphasis, he says, is a lot more on the music, to try and play beautiful and original jazz. What the seven of us share is a sense of humor, a love of jazz and a slightly off-kilter view of reality. Johnston picked the name Microscopic partly to suggest the inversion of a big band the septet is comprised of four saxophonesa bass doubling on tuba, piano and drums. The instrumentation is enough to give us a big range of colors and work compositionally in a more expansive way. Nels Nelson, Philadelphia Daily News, A Noteworthy Potpourri June 17, 1989 the Microscopic Septet made its local debut at the Painted Bride Art Center. Combining no-nonsense musicianship with a Pee-wees Playhouse slant on jazz tradition, the New York group more than lived up to its reputation for inspired eclecticism. The performance included sometimes in the same number barrelhouse riffs, skewered merengues and boogie-woogies, and what sounded like homages to Kurt Weill, Hanns Eisler and Thelonious Monk. It wasnt only impressive. It was fun something one wishes could be said of more jazz concerts. Forrester and Johnston were responsible for most of the material They are the boldest and most gifted pair of composers to have joined forces in one group since Roscoe Mitchell and Joseph Jarman of the Art Ensemble of Chicago. Francis Davis, The Philadelphia Inquirer: Daily Magazine, Three rounds of jazz from Mellon festival June 19, 1989 If they dont watch their step, the Microscopic Septet, lovingly known as the best New York band that hardly anybodys heard of, is going to have to change its tune. Long the object of cult adoration (the band started around 1981) both here and abroad, this hard-driving aggregation of brilliant zanies is about to come into its own, playing ditties like The Lobster Parade or Waltz of the Recently Punished Catholic School Boys that defy description. This fall, at New Yorks esteemed Town Hall, the Micros will meet the Bobs, their vocal cousins, who themselves have been likened to a sort of cross between Devo and the Mills Brothers. Deploying their inimitable hodgepodge of swing, bebop, and musical one-liners, the Katzenjammer Kids of postmodernism have arrived. Richard Merkin, Vanity Fair, Fanfair: Macro Micros Sept. 1989 Im totally down with these merry jazzbos, who put the cult back into culture through deft, driving arrangements, stand-up absurdist solos, wiggy urbanity, and more damn joi de vivre than you can shake a fez at Rick Gehr, The Village Voice, Choices Sept. 5, 1989 Some consider the Microscopic Septet too funny for its own good. But thats far and away the worst thing you could say about this brainy and dexterous group of hard-swinging jazzmen People often make a big deal about the humor in our music, says Phillip Johnston I see what theyre getting at, but I think our musics humor is overemphasized. We never sat down and said, Lets try and be real clever. What were trying to do is play beautiful jazz as best we can, and humors only part of our ironic world view. That view gestated during the late 70s and early 80swhen Johnston andForrester decided to deemphasize solos and concentrate on compositions and arrangements in a large-group format. They enlisted several players who had worked in enough bandsto fill a list as long as your arm. Their collective resume includes work with everyone from the Waitresses (Hofstra) to Carla Bley (Davis), from stripper Carol Doda (Dworkin) to the citys finer piano bars (Forrester) A typical tune from among the Micros 140 charts could only be characterized by an almost perverse diversity. Tangos, waltzes, polkas and unexpected allusions to pop hits and TV theme songs fit together with jigsaw-puzzle coziness into deft, complicated arrangements that link thoughtful traditionalism to your favorite modernisms almost always with an askance tip of the bands trademark fez to jazz highfalutin self-regard. Jazz has turned into such an earnest cult thing, Johnston says, with everyone saying its the new American classical music. But we dont see why you cant include humor in it and still be taken seriously. Our music has irony as well as a tongue-in-cheek quality; we love the music we poke fun at, or we wouldnt be playing it. When the Micros started out, he says, no jazz clubs would hire us. So we played where we could, in rock clubs, little no-name, hole-in-the wall places, and just sort of built our own following. If the Micros have a spiritual beacon, its Thelonious Monk. Like the maverick bebop pianist, they persevere in spite of establishment adversity. Their expanding core audience thrives on the groups impeccable arrangements, terse, angular solos, and devil-may-care attitude. But Monk and the Micros have something else in common as well. Johnston tells a story: Someone once walked up to Monk and said, You know, Monk, people are laughing at your music. Monk replied, Let em laugh. People need to laugh a little more. Richard Gehr, Newsday: New York Edition, This Band Gets Small Sept. 14, 1989 Mondays belong to the MICROSCOPIC SEPTET, practitioners of downtown-style ensemble jazz: spirited genre-mixing and plenty of wit. The New Yorker, Goings On About Town: The Microscopic Septet at the Knitting Factory Sept. 25, 1989 MICROSCOPIC SEPTET: The Knitting Factory, New York, NY, September 25 [1989]. Theyve been called the best New York band that hardly anybodys heard of and their big band/bebop/swing/kitchen sink hybrid sound has been described as Lawrence Welk on acid. After seeing one of theirKnitting Factory performances, we tend to agree. They rollick and bop around frivolously as easily as they can soothe or cool you off but those quieter moments are only used as breathing space after the churning, upbeat crescendos that come time and again. Some things you wont hear on their recordingsare the gawking, overly demonstrative facial expressions that the band members useor the hilarious, deadpan humor of Johnston This particular night seemed typical in its spontaneity, with sojourns into spirited big bandand even whacked-out inverted marches With adversity from the stuffy jazz establishment, the Micros take solace and guidance from Thelonious Monk, a pianist who never took note of the unconverted, letting them find out on their own. CMJ New Music Report, Live Wire: New Music In Performance #181, Oct. 20 1989 For anyone used to the stately progressions and formal styles of jazz big bands, the Micros will come as a tuneful surprise if not an outright shock to the system. They derive their approach to jazz from downtown, writ in large, eclectic letters. The saints Johnston cites as influences are big band leaders of the past, along with composers such as Charles Ives and Thelonious Monk. The rules well, theyre broken all over the place. A typical song might start off with a Mingus-style head, make scenic stops at merengue and bossa nova, then break easily into the slow, formal rhythms of a Viennese waltz. The bands four saxes give the Micros a distinctively lush sound As for the songs and the Micros performances, their characteristic crazy-quilt compositionsand on-stage irreverence (they frequently don fezzes and parade through the crowd) can make the band seem like outright blasphemers in the sacred church of jazz. To this criticism their response is simple: sheer competence. the Micros have honed their band to the musical equivalent of a guided missile, with stop-on-a-dime time changes, an ensemble attack as clean and sharp as that of any band around, and an array of first-rate soloists Eli Gottlieb, Elle, Vol. V, No. 6, Feb. 1990 Colliding kaleidoscopically, like a petri dish seething with paramecia, the Microscopic Septet plays musical mitosis (thats cell division, for the undereducated). the Micros genre-bend big-band and bebop, mutating into new life forms. Unpredictable as an acid flashback in a barrel-of-monkeys funhouse, these avant vaudevillians consistently deliver the good-time goods. McCree, Downtown Express, Essentials Vol. 4, No. 45, April 10, 1991 Its the morning after having gone to hear the Microscopic Septet; the last number they played, a quirkily infectious original by co-leader Joel Forrester, You Know What You Know, is still running through my head, and Im grinning. I want to hear it again, along with their kicker of an opener, Night Train Express The Micros, mixing harmonic sophistication with wondrous playfulness, can really be a lot of fun Chip Deffaa, New York Post, On the Town April 10, 1991 An element of surprise should be but too often isntstrong in any jazz groups makeup. The Microscopic Septet is very big on surprise. Also wit. And also more so than may be evident at first listen good, old-fashioned, hard-earned musicianship Though far from solemn in their music-making and, indeed, their playfulness is part of their joyous appeal theyre quite serious about it. Theyllplay their versions of music of Ellington, Monk and other past masters the group is rooted in tradition but its their ever-expanding library of originals, most of which have never been recorded, that draw their loyal fans in New York If no major label has yet signed them, it may be because their music is so different from the standard 90s bop most everybody else seems to be playing Chip Deffaa, JazzTimes, Virtual Reality Microscopic Septet June 1992 the twentieth-anniversary reunion of the Microscopic Septetreunites two of the most sophisticated and stylistically slippery of jazz composers and improvisers, pianist Joel Forrester and saxophonist Phillip Johnston, along with a contingent of original Micros The New Yorker, June 12, 2000 Oh, how weve missed the Microscopic Septet! Back in the early 1980s, when jazz, on all aesthetic levels, seemed to be resolidifying its connections with its heritage, these wild and woolly virtuosos leapt into the breach between outside and inside jazz and made a cheerful shambles. They were as clever as the Beatles, as subversive as Captain Beefhart, as antic as Spike Jones. Did I mention yet that they were and are more fun than any other well-dressed jazz ensemble in the western world? The group split up amicably a few years back to pursue individual projects. Butfans still light candles for their return. The prayers were answered Sunday night with a Micros reunion concert at Town Hall as part of closing-night festivities for this years Bell Atlantic Jazz Festival. The groups ability to shift tempos, modes and moods with the panache of stock-car racers seemed as indelible as ever. Hurry back, fellows, wont you? The uptown neoclassicists still have a lot to learn from you downtown pranksters Gene Seymour, Newsday, Jazzy Lobsters Back in the Limelight June 13. 2000 The Microscopic Septet, opening the show with a 20-year reunion concert, recreated the feel of an Atlantis-like city, early-80s New York, a sort of screwball town where sassy irony ruled and musicians in skinny neckties played their brainy tunes in tiny speakeasies that defied zoning laws. The group sifted various popular rhythms of 20th-century America, from habanera to swing to rock n roll, and the more abrupt the transitions between them, the better. The pieceswere a bit like early Ellington in their frequent jumps between melodic and rhythmic strains; that is, if Ellington did slapstick. Each instrument was used for comic potential It was a salty reminder of a lost age. The New York Times, June 14, 2000 A big band trapped in the body of a seven-piece, the Microscopic Septet made some of the most creative, fun-loving ensemble jazz of the 1980s. they were out of time with any definable trend in jazz, past or present. Unlike most artists in the post-Bebop era, they focused on composing and arranging rather than soloing. Furthermore, their songs made frequent reference to Swing and other early jazz idioms rarely found in a forward-thinking jazz context. their dissonance-enhanced harmonies and rock-ish, backbeat-driven rhythms attest that they couldnt have exited in the 1930s. The Micros were further distinguished by their lopsided instrumental lineup four saxophones plus a rhythm section and their witty, often mysterious sense of humor Above all, unshakeable tunesand spirited on-record performances make them well worth remembering, taking notice of, or catching up on whichever the case may be. Will York, Muze The Microscopic Septet was one of the most distinctive jazz ensembles in New York during the 80s and early 90s. Combining a love for the big-band sound with a progressive approach to arrangement and composition, the Micros managed to be nostalgic and futuristic at the same time From their first regular gigs in 1981, it was clear that the Microscopic Septet sounded and acted differently than most bands in the New York jazz scene. Combining their basic reed and rhythm lineup with eclectic compositions and soloing, the Micros were neither jazz classicists nor strictly avant-garde, but something more unregimented. Indeed, this fluid, cutting-edge nature made them a fixture at the Knitting Factory, one of the citys premiere experimental music venues. 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New Releases:2006 sept for printing:Micros quotes final@vv<}vV3LCDVvOP @'@ r'@$@GTimes New Roman5Symbol3 Arial3Times hbFܐ&Ԑ&@!b4C@ Ben EiserikeJoyce Nalewajk@ jbjbqqPlD PPPP$tD 1B111111Z2$$2AAAAAAA,C ;E^AQ82118282A  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~=@11@@@82N 11A@T<T82A@@AA3 |P<AA1B1BAE@EA@What the press has previously said about: THE MICROSCOPIC SEPTET TAKE THE Z TRAIN PRESS [P4003] 1983 Lineup: Phillip Johnston (soprano sax), Don Davis (alto sax), John Hagen (tenor sax), Dave Sewelson (baritone sax), Joel Forrester (piano), David Hofstra (bass, tuba), Richard Dworkin (drums) Four saxes (soprano to bari) and rhythm section make up this swing band with a twist. The Micros are a New York Lower East Side-spawned outfit with a truly distinctive sound that pumps Basie boogies, zestfully shifts from tangoed unison to Dixieland discordance with Mingus precision, and spins off sax solos that reach Eric Dolphy free and Earl Bostic blue within the same tune. With that much of the tradition mastered, this is one band that can afford to be seriously original and share a playful humor uncommon in New York jazz circles Filled with jerky Monkishness fluid reed arrangements, false endings, and titles like Chinese Twilight Zone, Z Train is fueled by the compelling compositional talents of pianist Joel Forrester and saxman Phillip Johnston. (4 Stars) Ashley Kahn, The Rolling Stone Jazz Record Guide swinging jazz blended with R&B and a host of other influences, full of twists and turns, yet remaining very catchy and accessible. Much like the musicians that made up Spike Jones City Slickers in the 1940s, only some very talented players could follow these demanding charts; yet unlike the comparison to Jones records, there is nothing that is obviously or purely cornball about this music. definitely check out the hard to define but very enjoyable compositions within this CD. (4-1/2 Stars, AMG Album Pick) Ken Dryden, All Music Guide, www.allmusic.com the first album by The Microscopic Septet. At turns, it sounds like the Four Brothers meet the World Saxophone Quartet or Charles Mingus plays Willem Breuker or vice versa. It is as if the entire history of improvisatory music is on parade. The music is joyously schizophrenic. Within the first 90 seconds of the opening cut, the rhythm goes from mainstream Jazz to rock back to mainstream into latin over to swing. Johnston likes to throw curves into each of his compositions. The title tune starts with a quiet bass solo with sympathetic piano backing that changes quickly into a syncopated rhythm a la Fletcher Henderson with a perverted Three Blind Mice thrown in before a cacophonic ending. part two is a blazing boogie-woogie replete with a growling tenor solo and flying staccato piano riffs that give way to a blustery baritone coda. Pianist ForresBIHmJJJJJKKYOZO[OQAQBQUUU"YqYrYY&Z p^p`^^  ^ `1$7$8$H$ & 0` P@&Z'Z(Z`ZZ/[R]_3adgij)m?njnknqscsdss tu^x^^ P^P` ^`[nnnpppp#s5scsdsss,vKv_vlvqxxɀՀ5O^_z19CENj؋s(:HJ cp*,]c  éܩDg39Z\@Bμ"V 5CJ *CJCJ6CJCJ^^xxJ(^xECJ–(r*P^P ^`^ ^` ^`(^xECJ–(r*p٠f*,R:"\wҺA:_E)w#";j* ' |Q*p٠f*,R:"\wҺA:_E^^ ^`^ ~,@mnz|KOjk?H}p`6CJCJCJ,)w#";j* '^^ ^` ^  p^p`  | ^` / =!"#$&%& ptet stands out in this company