Fat Little Bastard and Naftule’s Dream
Wednesday, March 23, 2004
8:30pm, Ryles Jazz Club, Cambridge
Fat Little Bastard is a band that is going places fast, in spite of the image implied by its name. Together, guitarist Andrew Stern, bassist Noah Jarrett, and drummer Eric Platz form a trio marked by talent, a collective sense of humor, and a clear enjoyment of making music together. It won’t be long before Fat Little Bastard leaves behind its opening act status.
The trio opened with “Mustafa,” a funky number in a waltz tempo. This piece belonged to Stern but was capably anchored by Jarrett and Platz, who go beyond being a mere rhythm section. They keep the piece moving in an unobtrusive manner that allows Stern to enjoy the limelight. Whether “Mustafa” is funk-influenced jazz or jazz-influenced funk doesn’t matter; it was expertly executed by the ensemble.
The program’s second piece featured Platz playing his set like a train rolling down the tracks at top speed. Stern took the tempo and ran with it, and Jarrett’s bass ostinato kept the piece on track (pun intended). The work was followed by an original composition by Jarrett, a Latin-tinged number in which Jarrett and Stern musically bantered with one another in a joint improv session in a style that was slower and more laid back than the program’s first two pieces. From there Fat Little Bastard segued directly into its next piece, a rock number with a middle eastern feel to it. This piece demonstrated each member of the trio at his best; Stern demonstrated fast fingerwork and impeccable technique, and Jarrett and Platz ably supported their frontman with style.
A Thelonious Monk tune was followed by another rock-style work, and it is in this format that Platz is to be especially commended. His drumming is innovative without detracting from the melody, a trait that isn’t always easy to find in a percussionist. Jarrett’s bass solo featured beautiful bow work, and he transitioned from plucking to bowing and back again with seamless ease. Jarrett is a versatile musician, and this piece highlighted his skills as a bassist.
The band’s penultimate tune opened with a guitar solo, into which Jarrett and Platz gradually inserted themselves. With this piece Fat Little Bastard accomplished the opposite of what usually happens when a piece of music unfolds. Normally a rhythm is established and the solo fits into it. Here, Stern stated the solo and the rhythm section adhered to his statement. The overall effect was unexpected, musically satisfying, and simply fun. The band intended to close with “Sunday Morning,” described by Stern as “a wacky ditty” that was reminiscent of a lazy country tune with an occasional chordal twist. As the piece continued it became more improvisational, textured and layered, all while staying true to the melody from which it grew. A Danny Elfman encore called “The Nightmare Before Shabbos” closed Fat Little Bastard’s set and gave Stern the opportunity to demonstrate his banjo technique as well. Fat Little Bastard is a stellar ensemble with a strong future; its CD, An Illustrated History, is more than worth the listen.
By Katie DeBonville
Katie DeBonville - Boston Herald