The Bad Plus at BOP STOP, All About Jazz, 6 December, 2024
Comments closedTag: Bop Stop
I get a lot of records from publicists looking for a review, 788 last year. That’s way more than I can get to, but I try to check in on most of them. Last year I noticed that a lot of them had Troy Roberts on tenor saxophone, and even on records I didn’t care for–maybe especially those–I was drawn to his muscular sound. I missed his appearance last year with Pat Bianchi (a gig I previewed here), but I–and Cleveland—will get a second bite of the apple Sunday, Feb. 16 when the saxophonist returns to BOP STOP.
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When Cleveland wants to greet the world, here’s what it says: “Hi. I’m Daniel Peck and welcome to Live at the BOP STOP.”
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It was a simple question that I asked Pat Bianchi: Which is your dominant hand? His answer was more complex than I expected.
“I’m kind of both,” he said. “I write with my left hand. I can write with my right hand, too, so it kind of flips back and forth.”
Ambidexterity is a useful trait for a keyboard player to possess, and because Bianchi’s primary instrument is the Hammond B-3 organ, his feet are also involved.
The lack of a dominant hand is an interesting footnote for sure but it’s also a metaphor for the absence of a dominant aesthetic in Bianchi’s musical choices, something that makes his Friday appearance at BOP STOP an unusually compelling event.
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For something a little different today, let’s talk politics. Not electoral politics; we’ve all had enough of that. No, let’s talk musical politics, which can be just as divisive and irrational. Just ask Max Johnson. He plays bass in various jazz contexts, including a trio with saxophonist Neta Raanan and drummer Eliza Salem that makes stops at BLU Jazz+ and in Avon Lake this weekend. But he also plays and composes bluegrass and concert music. It could drive a gatekeeper mad.
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