donny mccaslin

SFJAZZ: Donny McCaslin Group / Antonio Sanchez Migration

In mid June, we at CatSynth were treated to a greatl concert at SFJAZZ that featured Donny McCaslin’s “Blackstar” Band and Antonio Sánchez’s group Migration. McCaslin and his quartet are perhaps best known for their collaboration with David Bowie on his final album Blackstar (which we have discussed previously), but they are a remarkable group in their own right.

Donny McCaslin
[Donny McCaslin]

Indeed, our interest in this show was not just the Bowie connection, but reviews from friends who had previously seen the Santa Cruz-born-and-raised McCaslin live and were blown away by the performance. And as soon as the band started in on their first tune, “Shake Loose” from their latest album Beyond Now, we understood why. It was thunderous, aggressive, but complex and intricate at the same time. There was an intensity, and even a bit of a punk sensibility to the way they powered through the entire set, which included additional selections from the album, a new composition by McCaslin, and “Lazarus” from Blackstar. The encore was also a Bowie song, but a surprising one: “Look Back in Anger.” There really wasn’t a bad moment in the entire set, and it went by quickly with the group’s frenetic pace and energy.

While McCaslin was front and center both visually and musically – he is rather tall as well as a very expressive performer – I was also very impressed with Jason Lindner on keyboards. He freely mixed synthesizers, classic electric piano, and acoustic grand in a performance that was solid harmonically and rhythmically, but again complex and multi-linear. Rounding out the quartet were Mark Guiliana on drums and jazz multi-instrumentalist Nate Wood on bass.

The first half of the show featured Antonio Sanchez Migration performing Sanchez’s long-form composition The Meridian Suite. While the piece has classical influences in its structure, it was unmistakably jazz, and Sanchez himself told the audience that unlike classical-music concerts, the audience was encouraged to applaud between movements and anywhere else the felt warranted such a reaction. The unusually long piece moved through several styles and textures, from very sparse modern jazz to more funky riffs, all anchored by Sanchez’s versatile and precise drumming. Some of the movements included lyrics sung by Thana Alexa. The band also featured Chaise Baird on tenor saxophone, John Escreet on keyboards, and Matt Brewer on bass.


Overall, it was a concert we were happy to have the chance to see; and I will certainly be on the lookout for McCaslin’s next appearance in the Bay Area. In the meantime, we will be enjoying his newest album.

Dollar Days, Blackstar, and Luna

David Bowie, Blackstar

A lot has already been written about David Bowie’s final album Blackstar. But it seems particularly poignant in a personal way at this moment in my life.

I should start by saying it’s a great album. I would even assert that it was his best since the classic albums of the 1970s. it mixes complex and dark elements with some catchy hooks like on Low. The jazz and fusion elements on Blackstar, which features a band led by saxophonist Donny McCaslin, also take me back to another of my favorites, Station to Station, with its funky vibe. Indeed, some of the initial responses to the album that focused on his use of a jazz band seemed to leave out the connection to his funky bands of the mid 1970s. But coming back to the present moment, it’s the song “Dollar Days” on Blackstar that seems to stand out the moment. It is melancholy and its verses feature ballad-like chord structure, descending root notes resolving back on itself. The chorus has a simultaneously anxious and soaring quality. And the lyrics seem to be self-reflective and prescient of his coming death just two days after the album’s release, especially when coupled with the next track “I Can’t Give Everything Away.”

Cash girls suffer me, I’ve got no enemies
I’m walking down
It’s nothing to meet
It’s nothing to see
If I’ll never see the English evergreens I’m running to
It’s nothing to meet
It’s nothing to see

I’m dying too
Push their backs against the grain
And fool them all again and again
I’m trying to
We bitches tear our magazines
Those oligarchs with foaming mouths come now and then
Can’t believe I just run second, now I’m forgetting you
I’m trying to
I’m dying too

Dollar days ’til final checks, honest scratching tails, the necks, I’m falling down
It’s nothing to meet
It’s nothing to see
If I’ll never see the English evergreens I’m running to
It’s nothing to meet
It’s nothing to see

I’m dying too
Push their backs against the grain
And fool them all again and again
I’m trying to
It’s all gone wrong for on and on
The bitter nerve is never enough, I’m falling down
Don’t believe in just one second round for getting you
I’m trying to
I’m dying too

Specifically, that line “If I’ll never see the English evergreens I’m running to” hits home. Bowie died in New York and had probably not seen the English evergreens in a while, and was aware that he likely wouldn’t. One part of Luna’s decline that has affected me greatly is the realization that we won’t experience some of our favorite things together anymore. Some have already gone, such as playing with toys, clamoring for favorite treats, and running up and down the stairs at night. I have no way of imagining what this feels like to her, but it can’t be good. And that, too, is a painful realization. Sadly, cats don’t have the ability to express their feelings in words, let alone with the lyricism and eloquence of David Bowie. The sharing of his thoughts about his mortality is one of the gifts in Blackstar, along with the music itself.

Luna’s continued decline has good days and bad, and we are spending as much time together as we can, including sitting on the floor and listening to music, cuddling and purring.