Black Nile make for good outdoor flow, because their sound has so much space in it. Here on the County Museum's patio, backdropped by Chris Burden's simultaneously illuminating, claustrophobic, inviting and absurd cluster of old city light poles, Aaron Shaw and Lawrence Shaw (sax and bass) led an ensemble that beckoned all Los Angeles to weave through the currents of urban abstraction.
South L.A.'s Shaw brothers grooved, kicked back and cycled through an ever-varying curtain of sonic enhancements, whether via their own pedals, Sam Reid's gushing electric keyboards or Carlos Niño's tinkling percussion array. Aaron has stepped to the next level of confidence and imagination on his reeds, including the eerie Electronic Wind Instrument, but he played them like a friendly commentator, not like a spotlight hero. Lawrence thumped the heartbeat and instigated much of the stealthy atmospherics.
Lest a doze should ever settle over the tropical warmth and heady cloud formations, trapsman Tobias Baker's active sticks kept up a sharp counterpoint and maintained a vital thread to the days of social and musical revolution. Vocalist Chanlyer Joie added sway and soprano sensuality to the colorful rumble. Frequently we felt the presence of elves or the ghosts of extinct animals from the nearby tar pits, all dancing and nodding to the Black Nile vibe.
The audience were partners with the music: strollers coasting up and down, kids chasing around, dogs sniffing. Skateboarders, old freaks, art geeks. This is what summer used to be like.
PHOTO BY FUZZY BARK.