DAWN OF MIDI
Dawn of Midi doesn’t sound like a piano trio. The group’s second album, Dysnomia, starts with a simple, weirdly syncopated bass line. A piano enters, playing a single clipped chord over and over, suggesting a sampler. A kick drum sneaks in another rhythmic theme. New patterns emerge and recede, all in the service of rhythms and breakbeats, not unlike an Aphex Twin record. This is jazz fully suffused with, and even overrun by, beats.
The trioAmino Belyamani on piano, Aakaash Israni on bass, and Qasim Naqvi on drumscan make conventional jazz. Its first album is a great example of contemporary free jazz that occasionally points toward something more. These days, though, the solos, the riffs, and the extended melodies yield to repeated fragments and lockstep grooves. And while this music conjures a sequencer’s beats and a synth’s consistent attack, it has a decidedly human, expressive core that indicates a different kind of jazz future. (THURSDAY, 8 P.M., CAROLINA THEATRE) Dan Ruccia