WHITEHEAD: Dan Weiss on drums - for me, that's too bizarre not to like. (SOUNDBITE OF JACOB GARCHIK'S "FANTASIA") For "Fantasia," Newsome fit his mouthpiece into a plastic hose to blow throbbing low notes like an Australian didgeridoo or a failing air conditioner. WHITEHEAD: At the overdub session, Garchik capitalized on the wide range of textures and sonorities that Sam Newsome gets on soprano saxophone. WHITEHEAD: Three months after their jam session, Jacob Garchik brought the players back to the studio to overdub material he'd written in the meantime, orchestrating the music after the fact, sometimes with a light touch. (SOUNDBITE OF JACOB GARCHIK'S "BRICOLAGE") For the track "Bricolage," Garchik cut up and looped a Thomas Morgan bass line into little, repeating vamps.
Then Garchik took those clean tracks and manipulated them, messing with the sound quality, making bold edits, stripping instruments out of a passage or dropping someone's part or gesture into a new context.
In 2021, the trombonist and four colleagues recorded a socially distant studio jam session, with each player isolated in the room and in the mix. KEVIN WHITEHEAD, BYLINE: On Jacob Garchik's album "Assembly," the music often takes an unexpected turn, as when a trombone romp gets interrupted by frantic chipmunk music. (SOUNDBITE OF JACOB GARCHIK'S "PASTICHE") Kevin says New York trombonist Jacob Garchik's latest album is the kind of oddball project someone stuck at home with time on their hands would dream up. Our jazz critic Kevin Whitehead says a lot of recent jazz reflects the COVID era - a proliferation of solo albums, musicians improvising together over the internet and big bands recording one musician at a time.
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