"Tidy universe" seems like a contradiction in terms. After all, the universe is an unimaginably vast, chaotic, hostile place composed primarily of mysterious substances such as dark matter and dark energy. But even in this vast chaos, the laws of physics function as an underlying order. On Tidy Universe, the new album by his Dirty Snacks Ensemble, Oakland-based vibraphonist and composer Mark Clifford similarly balances order and possibility in a set of songs that explore the intersections and tensions between composition and improvisation.
Among the tags for Tidy Universe on the Dirty Snacks Ensemble's Bandcamp page is "chamber jazz". This is an apt description. Clifford—who plays vibraphone and keyboards in addition to his compositional and occasional vocal duites—and his ensemble certainly have jazz chops and the album features some impressive improvisational passages, particularly saxophonist Aram Shelton's work on the album. But Clifford's background is in composition and all of these songs1 lean heavily on that foundation. To return to the cosmological metaphor, if the Ensemble's improvisations represent the chaos and possibilities of the universe as we observe it, Clifford's compositions are the laws of physics that dictate the shape and contour of those possibilities.2Clifford's compositional skills are impressive and the sophisticated, multi genre songwriting is one of the most enjoyable things about Tiny Universe. Considering that Clifford's main axe is the vibes, it is unsurprising that the most immediate touchstones are late-1960s, early-1970s albums from Bobby Hutcherson and Milt Jackson, such as Now! and Sunflower. Similarly, one can hear the influence of Andrew Hill and Eric Dolphy—both of whom featured Hutcherson on some of their greatest albums. But the album also brings to mind Joni Mitchell's mid-70s fusion albums,3 Canterbury scene prog weirdos like the Soft Machine, and even Sleepytime Gorilla Museum's prettier moments. All of these influences coalesce into a collection of complex-but-catchy songs that reward repeated listens.
Clifford offers a decidedly different interpretation of the phrase "tidy universe". He explains that it comes from Carl Sagan's "Pale Blue Dot". To Clifford, it serves as an indication of earth's small position in the universe and a reminder not to worry too much about the difficulties in creating an album such as Tidy Universe.4 The album's cover, a painting by Austin Matthews of three hikers walking a path beneath mountain spires reaching toward toward a star-filled sky, encapsulates both interpretations of "tidy universe". A hiking excursion is not unlike the performance of a musical group such as the Dirty Snacks Ensemble. Each hiker explores his or her own path just as each musician finds his or her own way to perform their parts. But at the head of the line is their leader and at their feet is the trail on which he leads them, just as Clifford leads his ensemble through the paths of his compositions. Alternately, the image evokes the sense of one's small place in an expansive, expanding cosmos. Clifford ties the Ensemble's genesis to the canyonlands of Utah, where he draws inspiration from the "freedom [he] get[s] from feeling so small in a place that is so vast."
Tidy Universe will be available from Recollect Records and the band's Bandcamp page on June 11. The Dirty Snacks Ensemble will play a record release show for the album that evening at The Peralta Station in Oakland, California that evening.
Chris Alarie is Spectacular Editor-in-Chief of Uncanny Valley Magazine.
1 Save for the three thankfully brief "Bobby" interludes.↩
2 I've had a number of conversations over the years with Clifford about his frustration with finding the right balance between composition and improvisation in various groups that he's played in and written for. He's found the right balance on this album by leaning more toward the composition side.↩
3 "Peepee" is especially reminiscent of Mitchell's "The Jungle Line".↩
4 He also says it is a bit of a playful dig at himself for being a disorganized person. Having played in a band with him for three years, I can attest to the veracity of this bit of self-criticism.↩
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