I always get a little bit of imposter syndrome while writing about jazz records. Part of it is how seriously jazz is taken academically. Some terrified part of my psyche feels like I should have to obtain a master's degree in music theory or composition before I even inhale with the intent to utter a public thought about the genre. Another part of me feels disqualified due to my other interests: namely metal, hardcore, and weirdo experimental stuff. I know most jazz enthusiasts actively despise these things, and so I'm always a little afraid of a backlash for offering any kind of critique of something they do like. None of these concerns ever stop me, though. I just feel like it's a worthwhile insight to share because it helps explain why I felt compelled to say something about violinist Sana Nagano's new record, Smashing Humans.
This is an accessible release for me. Not only because it's very silly, but also because it's wildly unorthodox. For starters, Sana is a serious performer and composer. I don't think anyone could call her credentials into question without severely injuring their own credibility. Despite being a credentialed and demonstrably talented performer, she very clearly doesn't take herself too seriously. She's described Smashing Humans as both a kind of musical "Disney Land" and inspired by a video game her ex-boyfriend used to play. How many jazz albums can you name that match these specific criteria? Combining the strangely personal with the invitingly and diverting? I can only name one, Smashing Humans. In terms of career, Sana's trajectory has also been unusual, going from Berklee College of Music to NYC where she made a home for herself in the worlds of punk and noise. When it comes to technique, she likes to run her violin through a series of pedals, one of which is programmed with Hatsune Miku's voice (Korg Miku Stomp). She also seems extremely friendly, almost to a fault, while giving interviews. Truly, if there is a jazz performer who is as approachable as they are intriguing, it's Sana Nagano.
For Smashing Humans, Sana has assembled a band consisting of axman Keisuke Matsuno, tenor sax tamer Peter Apfelbaum, bass boss Ken Filiano, and drum master Joe Hertenstein. Together they create an indomitable current of sound, following both Sana's densely drafted compositions, while occasionally finding relief in improvisation departures, the latter of which helps to capture the dynamic and unpredictable state of flow present in live performances. This approach lends itself to some beautifully realized moments of intrigue and chaos, like with the sharp-toned psychedelia served up on "Loud Dinner Wanted," where lines of heady guitars fall before the toothy scythe of Sana's string arrangments, while the rest of the band tries to keep things on course by creating brackets of taught and snappy grooves in an attempt to keep civilian casualties to a minimum. "Humans in Grey" has a woozy sardonic role to its passage that conveys both a sense of inner ear disruption as well as a sunken-eyed weariness that is amusingly cartoonish while remaining defiantly grounded in the bustle of an urban borough. Also, notable is the noisy, scrap and squeeze of "Heavenly Evil Devil," where I swear Sana and her cohort are trying to wring juice out of their instruments before collapsing into whimpering exhaustion.
Is Smashing Humans weird as hell? You bet! Does that make it an essential listen in my book? If you've been following along, you should know the answer already- absolutely!
