Smartly Crafted Zony Mash Grooves

The appearance of keyboardist’s Wayne Horovitz’s quartet, Zony Mash, Friday at McCabe’s Guitar Shop on the same night that Medeski Martin and Wood, that other organ-based combo, played the nearby Ash Grove, invited comparisons with the better-known, longer-lived organization.

The verdict? Though Horovitz’s year-old quartet resembles MM&W; in the sound of its centerpiece instrument and its predilection for strong rhythms, Zony Mash is a smarter, more harmonically involved band that never stays locked for long in a single groove. Its Meters-meets-Miles approach, though certainly tailored for the crossover, jam-band set that follows MM&W;, was of the type that would be equally attractive to more discriminating listeners.

Horovitz, now based in Seattle but long a figure on New York’s downtown improvisational music scene, has crafted tunes that can be enjoyed on a number of levels. Hard beats powered many of the numbers, but more often than not they gave way to more subtle, or more detailed rhythms along the way.

“Happens Like That” contrasted a John Lee Hooker-styled boogie, driven by guitarist Timothy Young, with a reggae-influenced chorus, then counterpointed both rhythms at tune’s close. One number used droning guitar background and exotic intervals. The grand, movie-house theme of “Sex Fiend” led to an intense improvisational section reminiscent of L.A.’s late punk trio, the Minutemen. The title tune from Mash’s only album, “Cold Spell,” was a thoughtful waltz.

Throughout, Horovitz displayed a dynamic sense of improvisational development. His solos built from reserved, short lines to grandiose, harmonic passages standing solidly on drummer Andy Roth’s play. He used the organ’s tremolo effects to advantage while manipulating volume and harmonic density with emotional purpose. Though his sound was clean and crisp, he wasn’t above adding low-end rumble or spacey chordal effects to color the mood.

As with MM&W;, the interplay between Mash’s members is important to this music’s impact. Guitarist Young used wah-wah and tremolo arm effects to color his sound or played in lock step with bassist Fred Chalenor. Drummer Roth maintained beat, but focused on responding to his bandmates’ play. The result was tight teamwork that still allowed for plenty of individual expression.

Zony Mash may not be as well-known as Medeski, Martin and Wood. But MM&W; fans can find much to like in Mash’s music, and a little more depth to boot.