They opened with segueing McNeil numbers, Nanotechnology into Alone Together, mysterioso modal into catchy hook into swing featuring the first of several fast, fluid Garzone solos, McBee going in the opposite direction with lots of space. McNeil got a lot of laughs telling the crowd how he’d named another tune, CJ, after a woman he was pursuing. In retrospect, he should have known that you have to try a little harder than just a blues if you want to impress a woman. Something else that McNeil didn’t know when he wrote it thirty-one years ago, almost to the day: you don’t write the blues before the woman, you write the blues after. But it gave Carlberg the first of many foundations to enigmatically warp the time as he would all night, McBee taking it out quietly, tersely and eerily.
A homage to Piaf, whom McNeil had a crush on as a kid, built from plaintive, insistent piano to gently pulsing, Ray Brown-esque bass, Garzone eventually going major on minor to enhance the somber intensity. Frank Carlberg’s composition Consternation (after the Bird tune A Confirmation) driven by some utterly marvelous Barshay cymbal work, saw the band playfully interjecting themselves into the drum solo. The night’s last number was the best, a Dave Liebman composition that nobody could remember the title to, but they played the hell out of it – a murky modal masterpiece with scurrying rhythm section, icy Carlberg minimalism and more rapidfire Garzone sharpshooting, McNeil avoiding the murk at first but eventually plunging right in as the rhythm section took it all the way up with a stomp that built thisclose to complete ferocity, McBee again leading it out on a quietly moody note. This show was part of NEC Jazz Week in NYC, an allstar series of concerts continuing tomorrow through the big blowout at B.B. King’s on the 27th – the complete schedule is here.