By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Bernstein is a card-carrying card carrier. If the band wore uniforms and the leader enunciated his introductions (not a bad idea), his crew might do battle with, say, the spit-and-polish squad of Vince Giordano's Nighthawks. For despite the holy-roller eclecticism, the playful attitude toward pitch, the we-make-it-up-as-we-go front, the faux insecurities of do-you-wanna-hear-more and are-you-having-a-good- time and well-I-dunno-we've-never-played-a-place-like-this, not to mention muttered whimsies concerning politics, dope, and other unmentionables, when the time comes, Bernstein clicks an invisible switch and the band pops into semi-flawless unison. At that point, you might imagine yourself in Harlem in 1929, listening to Lloyd Scott (obscure enough for you?) or W.C. Handy, except that there's no room to dance and, besides, at any moment the unison may turn south. In truth, it isn't Harlem Bernstein re-creates but the fanboy joy of late-night listening sessions to old records. He's the R. Crumb of jazz.
"Dju recognize that solo?" he asked, referring to an interpolation in a piece that began with Delta guitar, pizzicato violin, and clarinet over stop-time bass. "NO?!" he wailed, more in sorrow than in anger. Don Byas's opening tenor spot on Basie's "Harvard Blues." The whole class flunked and I was sobbing in shame when the band snapped into Preston Jackson's "It's Tight Jim," casually introduced. I had to look that one up: Jackson, a trombonist remembered for his work with Louis Armstrong in the early '30s, though he had a long career, recorded it in 1926 for Paramount. I envision the Millennialists sitting around the phonograph late at night, Bernstein holding the 78 to the light to assess scratch damage. Or has it actually been reissued? In any case, this was the best piece of the set. The leader offered a strong trumpet lead against trombonist Clark Gayton's trills; Peter Apfelbaum played a gracious half-time tenor solo over ensemble chords and Ben Perowski's rumbling drums; violinist Charles Burnham soloed with country-like multiple stops over Ben Allison's bass, until the full rhythm section returned, the band barked staccato chords, and the piece transformed into a slow, handsomely voiced "All You Need Is Love" with improvised guitar overlaywhich, in this context, was as left-field as Preston Jackson, but which made for a compelling closer, complete with an episode of birdlike peeping and a unison high-note finish.
For all his fish-out-of-water ingenuousness, Bernstein is not entirely unknown to the upper precincts, or vice versa. As a leader, his big act is Sex Mob, a quartet that established his irreverent attack, marrying gentility to up-yours while keeping the jokes subordinate to the music. But in addition he's directed the Lounge Lizards, has worked on a couple of high-visibility film scores (Get Shorty, Kansas City), and backed Aretha, Mel Torme, Lou Reed, and Sting, among others. Still, he seems genuinely uncontaminated by breeding or stardust, and his enthusiasm is catching. He presides over a band that interprets ancient jazz as an old-time religion, only without the solemnitymore like old-time paganism, really.
One indication of his impiety is that he doubles on soprano trombone, usually called slide trumpet, an instrument whose jazz pedigree is almost exclusively pictorial and negative: Armstrong famously posed with one, which encouraged skeptics to accuse him of playing one to affect his astounding glissandi on records like "Lazy River." For 70 years its renown involved Armstrong's never playing it. Bernstein doesn't go in for much tailgating, although he's aces at growling into a derby, but his use of the archaic horn suggests the kind of insider authenticity that reverberates throughout the band. Take, for example, Erik Lawrence, who plays baritone sax solos that chug and groan as though Harry Carney, let alone Gerry Mulligan, never lived; or former Lounge Lizard clarinetist Doug Wieselman, who grows his sound to full pre-swing weight (limning the melody of "Happy Hour Blues," by Lloyd Scott, brother of the slightly more famous Cecil Scott); or Apfelbaum, who savors quarter-tones, reaching into a bag no one has opened since Prince Robinson. If all this sounds like a heavy course in jazz arcana, the Orchestra itself does not. At its best, it strikes a balance between slap-happy repertory and raucous excess. At its worst, excess takes over, glee turns rote, and we're not having as much fun as we're supposed to. At the Jazz Standard, best outnumbered worst about eight to one.