History of the Micros

The Microscopic Septet – History of the Micros, Volume One: Seven Men in Neckties

Cuneiform Rune 236/237

The Microscopic Septet – History of the Micros, Volume Two: Surrealistic Swing

Cuneiform Rune 238/239

Without even realizing it, a sizeable portion of the American populace has probably heard the Microscopic Septet. Their distinctive overture to NPR's Fresh Air with Terry Gross has been the show's official theme for a decade and half. But the jazz cognoscenti know that the group responsible for the driving, film-noir tinted jingle is actually one of the best acoustic jazz ensembles of the eighties. Formed by Phillip Johnston in 1980 as a traditional piano trio augmented by a saxophone quartet, the band quickly took on a life of its own. Similar to such diverse, post-loft era ensembles as the Lounge Lizards and the Jazz Passengers, the Micros, as they came to be known, fell into the then seminal Knitting Factory scene. Dedicated to bringing a sense of humor and fun back to jazz, by leaning heavily on pre-war styles, the Micros invoked the primal joy of those halcyon days.

While their legacy has remained strong, their recordings have gone the way of the cutout bin. These two deluxe reissues remedy this situation by bringing back not only the band's original four albums, but a smattering of previously unreleased material, including two tracks with original alto saxophonist John
Zorn, who left before the group recorded their first official album. Despite numerous personnel changes in the early years, the predominant line-up remained the same for the bands tenure: Phillip Johnston; soprano saxophone, Don Davis; alto saxophone, Paul Shapiro; tenor saxophone, Dave Sewelson; baritone saxophone Joel Forrester; piano, Dave Hofstra; bass and tuba, Richard Dworkin; drums.

Johnston and Forrester assumed principle composition duties in a partnership that proved creatively fortuitous. Featuring excellent arrangements and tight ensemble interplay, under Johnston and Forrester's tutelage the septet often sounded like an ensemble twice its size. With their parallel aesthetic, these two shared a worldview where the irregular harmonies of Thelonious Monk, angular melodies of Steve Lacy, caustic energy of Albert Ayler, tight arrangements of Fletcher Henderson and regal beauty of Duke Ellington all held equal sway. Borrowing from Dixieland, tango, polka, boogie-woogie, rhumba, cha-cha, swing and numerous other styles, the unifying focus always remained the same; the Micros existed to entertain, and entertain they did.

Looking back on the 1980s, the New York jazz scene quickly divided itself up between two opposing camps. The Neo-classicists, aka, the Young Lions, aligned with the Marsalis family name and touting major label support, were perceived as Uptown. The more extreme Downtown scene was a cauldron of experimentation, thriving with grass roots support. It was in this fertile and unrestrictive environment that the Micros flourished, playing everywhere from jazz joints to rock clubs, spreading their infectious tunes as far as they could reach. With snappy melodies, tight arrangements and virtuosic solos, the Micros easily shed the then limiting "fake jazz" tag so casually foisted upon their contemporaries, such as the Lounge Lizards and Jazz Passengers.

The band recorded their debut album Take the Z Train, in 1983. Well received by the jazz community, its success facilitated the opportunity for the band to travel abroad. By recording their second album, Let's Flip!, live in Rotterdam in 1985, they managed to capture all the live energy of a Micros show. Off Beat Glory arrived the following year and the band entered the CD age with their final album, 1988's Beauty Based on Science (The Visit). In 1990, the septet was asked to compose music for NPR's talk show, Fresh Air with Terry Gross, the signature theme that still accompanies the show to this day. Gone but not forgotten, these two double discs sets enable one to revisit what is easily some of the most celebratory creative swing music of the culturally oppressive Reagan-Bush years.

Both collections feature excellent cover illustrations from Art Spiegelman and re-mastered sound. With so much material to choose from, it's difficult to pick one set over another, let alone choose a single record as their best. One thing the Micros always had working in their favor was consistency.

The History of the Micros, Volume One: Seven Men in Neckties compiles their first two albums, Take the Z Train and Let's Flip!, along with bonus material. The first disc contains the entire Take the Z Train sessions, with three cuts from the following live set and the principle Fresh Air theme. The band's first record set the stage for the rest of their oeuvre, overflowing with manic energy, witty humor and surprising twists and turns. Recorded live to two-track in the same studio used by Eubie Blake, this session contains some of the band's gruffest, most raw and immediate recordings.

Combining a mischievous streak with assertive soloing and infectious tunes, the Micros inoculated themselves against cornball post-modernism by virtue of their talent. As long as they were playing, they were on, whether live or in the studio. On the live album, Let's Flip!, Danny Nigro subbed for original tenor saxophonist John Hagen, as Hagen was unable to make the tour; otherwise the line-up remained the same.

The second collection, The History of the Micros, Volume Two: Surrealistic Swing, combines their third and fourth records, Off Beat Glory and Beauty Based on Science (The Visit), respectively, with more bonus material; two more variations on the Fresh Air theme, one unreleased 7-inch single (with a disposable vocal part), and two early pieces featuring John Zorn, cut before they recorded their debut.

Their second studio record, Off Beat Glory proceeds without a drop in energy or enthusiasm. With a tighter, more cohesive sound, this album presents a somewhat more refined side of the band, including a nuanced cover of Thelonious Monk's "Crepuscule with Nellie." Typically consistent, the only major change between their third album and the previous studio recording was the introduction of Paul Shapiro on tenor sax, replacing original member John Hagen.

The two final tracks on the first disc feature the only recorded appearance of John Zorn with the group, the septet's original alto player. While Zornophiles will want to hear these cuts, there really isn't anything particularly revelatory about them. Only "Kelly Grows Up" features a brief Zorn solo, peppered with the usual hiccupping birdcall noises he was fond of in the early 1980s. Those interested in hearing Zorn in a semi-straight-ahead context from this time period would be advised to seek out the Sonny Clark Memorial Quintet's Voodoo (Black Saint, 1986), a far more revealing document of his playing at that time.

The group's farewell, Beauty Based on Science (The Visit) occupies the second disc, with more variations on the Fresh Air theme tacked on the end. Their fourth and final album may be their finest statement. While their debut featured them at their ragged best, and Off Beat Glory captured them growing into their sound, their last record is easily their most fully realized statement. The writing is more melodious, the harmonies richer, the interplay tighter, the arrangements more intricate, the soloing more extreme and the sonic hijinks even more surreal. Endlessly surprising, the Micros occupied a niche all their own.

Finally available in total, these two sets gather all the recorded music the Micros released in their twelve-year existence. Johnston claims to have well over a hundred unrecorded tunes in their songbook. Who knows what the future holds, since the group is getting back together for a limited tour in support of these releases.

~ Troy Collins

Posted by derek on October 11, 2006 11:32 AM