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Last night the Jazz Mandolin Project stopped in Boulder to conduct a large-scale experiment on the boundaries of jazz improvisation. The JMP, more suitably named the Jazz Mandolin Research Expedition, featured team leaders Jamie Masefield on Mandolin, Danton Boller on stand-up bass, and Jon Fishman on drums. While the control of the experiment was obviously deeply rooted in Jazz, the dependent variable was the fusion of a seemingly infinite number of musical genres. Based on the incredible talent of each third of the trio, I was able to hypothesize that the outcome would be a phenomenal journey into the un-chartable realm of jazz. The actual results blew my expectations out of the water in the form of a tsunami wave passing over numerous unique landscapes leaving nothing but admiration in its’ wake.
The collaboration of the three musicians resulted in amazing fusion and next level musical cohesion. The show was on average, 10% intricate jazz composition, and 90% exploratory improvisation. Jamie Masefield’s manipulation of the mandolin served as a driving force for jams of all types. His style can only be described as ungrounded. His noodling portrayed a virtuoso angle on the mandolin’s original purpose of bluegrass. In picking and strumming, he showed his ability to climb and descend extended scales in jazzy, funky, bluesy, soulful and even flamenco-esque riffs. Adding the use of sound effects, Masefield toyed with feedback and reverb to created musical landscapes ranging from ambient electronica ala Pink Floyd to rocked out solos reminiscent of Dire Straits. On top of his impressive playing ability was his competence in listening as was apparent by his unity with Boller who labored on the massive bass. Danton’s versatile efforts served as the major cohesive element in the joint forces of the trio. While plucking away, he dropped heart stopping bass bombs alongside quick, elaborate bass lines that constantly switched attention from Masefield to Fishman to the combination of the two artists’ output. Switching on sound effects of his own, he complimented Masefields’ abstract lick by maneuvering around his bass in unique ways including the use of a bow creating sounds similar to those of Les Claypool. During those moments when Masefield would step into the background, Boller would feed off the communal energy between himself and Fishman producing passionately complex drum and bass runs.
I must admit that my personal highlight of the evening was seeing Jon Fishman outside of Phish showcasing his impressive capacity for diversity in beats and inclusion of an assortment of intricate fills. Constantly executing severely tight fluctuations in tempo, Fishman laid the backbone for intense grooves and intangible space characterized by his fluffy, tumbling style. Touching upon indescribably abstract and meticulously convoluted rhythms, he blended break beat, ambient trance, funk, Latino and good old Rock and Roll into three hours of unrepeated quintessential jazz playing. Deep into the first set, Fishman was granted the opportunity to bless us with a head spinning drum solo that was everything and anything physically manifested by the quickest hands to ever hold drumsticks. On top of delivering a serious presentation of his skill, he kept things humorously entertaining with his infamous onstage anecdotes, the combination of which made for a wonderful, multi-level experience.
This multi-level experience was induced equally by each musician in their successful attempt to bring both band mates and audience alike to their soaring plateau. The outcome of these efforts was a communal understanding between all present. The crowds’ response was energetic displayed in a variety of expressions. Whether a mouth was left gaping open, involved in joyous conversing or one attempted to meet the challenge of dancing to the JMP’s abstract, ever-evolving groove, all had a glimmer of elation in their eyes. This glimmer radiated and lit the room with a unique energy founded on an overwhelming sense of appreciation for the trio. As each second of the show was distantly distinctive, I cannot guarantee that seeing the Jazz Mandolin Project will deliver an equivalent experience to that I’ve attempted to describe. I can guarantee, however, that if you enjoy Jazz and have an open mind, the JMP will do absolutely everything in their power to blow your mind wide open. You need to see it to believe it, or believe me for that matter. If you are lucky enough to catch the Jazz Mandolin Project in the near future with their current line-up, beware of drooling as it is considered unattractive in our era. I also wish you luck dancing and maintaining your sanity as they supersaturate your brain with unbounded, inexhaustible jazz improvisation.
Ian Koudstaal
JamBase | Colorado
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