A pig's head stared down from above the portal to the Taj Mahal; the image of the Yoda dispensed advice from a nearby wall; wizards of abstract music lounged in bamboo thrones while sipping craft beers. The Oracle Tavern, located in a revitalizing industrial corner a foul ball from Dodger Stadium and within flooding distance of the Los Angeles River, seemed like an appropriate hideaway for fugitive sounds. The Vernacular music series is currently inhabiting it two Mondays a month.
The duo Mastless Into Dawn fit perfectly into the Americanized Oriental surroundings. Robert Jacobson shouldered his oud and electric guitar, Matt Piper strapped on his banjo, and both made use of electronic effects to blend and flavor their lines. They improvised, but with predetermined notions in mind. The first long notion hinted at a raga-like inspiration, the plangency of both oud and banjo echoing the sound of a sitar as the two chased each other's ideas with joyful familiarity -- it was like a combination of Ravi Shankar and Quicksilver Messenger Service, peaceful and involving. The second long notion, with Jacobson switching to guitar, searched for pure improvisation and challenge, with the most exciting parts arriving when one or the other picker would hit a seeming dead end, and they'd have to figure out how to twirl out of it, which they accomplished with the aid of echo and the production of some quite entertaining harmonies. The third notion was largely textural, with ebbs and flows of volume bringing the set to a satisfying conclusion.
Lowercase Trio was veteran outworlders Dan Clucas (cornet and violin), Darryl Tewes (electric bass) and Brian Walsh (B-flat clarinet and bass clarinet; he also brought a tenor sax but maybe didn't play it). They did short improvisations where, y'know, they just played off one another. And it coalesced very beautifully. Seated between the two horns, Tewes acted as a bridge, dialing up electronic effects to create oxygen that amplified the information created by his nimble fingertips. Walsh employed pad-flap noise and overblowing techniques in addition to his clean, intense arpeggiations. Clucas used his cornet's mute to blow around the corners of his notes, making a blanket for Walsh's sparer statements. Clucas also showed considerable skill and passion on violin. Afterward: "How long have you been playing that thing?" "A couple of years." "This is a new band but sounded amazing. How much did you rehearse?" "We didn't."
One could say the same for the cricket in the wall, who accompanied both combos enthusiastically. Lacking the musicians' experience and variety, he confined himself to one note. But his rhythm was exceptional.
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Vernacular has another super show coming up Monday, January 30. Check in here.
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PHOTOS BY FUZZY BAROQUE.