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Bernard Parmegiani “a memoire des sons” [INA/GRM]

Another French pioneer in the realms of musique concrete
with Pierre’s Henri and Schaeffer. Parmegiani has worked
in TV/films as well, and the sounds here, whether from
his select memory…or aiming to trigger memories in
each listener…do seem to be more visual than some
other’s work. He’s got nice texture in these three long
tracks, constructed over a much longer time: 1967,
1987 and 2001. Despite those 34 years, standing aside
each other there is a flow (unlike say sci-fi movies
across a similar chronochasm). The first has more of
the explosive cut style (maybe from more primitive tape
handling). The second works loops more often, and has
voices and thus on a simple level, a more human feel
as well as time ticking in clocks and water drops. The
third and title cut is the most cinematic, including
soaring strings to underscore emotion. Add chimes
and crackling bramble, digeridoo and fanciful computer
flybys. Serve in slices, or complete.

  • Reviewed by Thurston Hunger on December 17, 2003 at 1:29 am
  • Filed as Format,A Library,CD
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  • Califone – “Heron King Blues ” – [Thrill Jockey Records]

    Hot on the heels of 2003???s ???Quicksand / Cradlesnakes??? comes this concept LP
    of recurring dream and Druid legend. A half-man, half-bird figure of legend
    haunts these sprawling mirages of ancient battle and laconic, ethereal interim;
    squalls of darkness patch themselves between melodic loam and numerological
    tension alongside the mercy and revenge of elephant-horns, muted drums,
    pump organ, slide guitar, treated piano, violin, fretless banjo and omnipresent
    electronic looping. The vision belongs to vocalist Tim Rutili, along with bandmates
    Ben Massarella (percussion), Jim Becker (guitars, keyboards) and Joe Adamik
    (reeds, horns) and is brought to realization with producer Michael Krassner &
    the usual Chicago all-star sessioneers : Wil Hendricks (bass), Fred Lonberg Holm
    (cello), et. al. A product of extemporaneous creation in the studio and the
    spectre of metaphysics outside of it, Rutili is a long long way from RED RED MEAT
    days ??? though the riverbeds still swirl with enigma, it is the topography of semi-
    coma that now presupposes symbolism, moving CALIFONE toward a more
    compelling interpretation of an ancient future.
    MITCH December 2003

  • Reviewed by mitch on December 16, 2003 at 12:41 am
  • Filed as 12-inch,A Library
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  • Trio S s/t [Zitherine]

    To say this is a trio of three Robert Horry’s probably
    doesn’t mean much, so I shouldn’t start the review that
    way. That might mislead, like “Majorca” the leadoff cut
    on this eponymous Trio S release. “Majorca” bristles w/
    a Tony Conrad/Amps for Christ power, that evaporates for
    the remainder of the album. It’s not bad, it’s just that
    it’s like a body with a different head. The rest of the
    album laps at your ears…soft raindrops on shallow pools
    of sound…well the “Russian” Anthony’s River is a 20
    second exception. Read Wieselman’s notes on all-natural
    perceived melodies…and relax to the flow of this album.
    Me, I’ll be pacing next door hoping that Trio S’ next
    effort features pursued inorganic melodies…built with
    more air and fire, and covered in loamier foam.

  • Reviewed by Thurston Hunger on December 10, 2003 at 2:38 am
  • Filed as Format,CD,Jazz
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  • Malachi Thompson and Africa Brass “Blue Jazz” [Delmark]

    Malachi Thompson is 30 years down the AACM/Chicago
    railroad tracks. This album kicks off with an “And the
    Grammy goes to…” solid but glossy vibe. But along
    comes “Genesis/Rebirth” the closer to Thompson’s Black
    Metropolis Suite. The sweet toe-tappin’ evaporates,
    and a heart-stoppin’ composition rises like a new sun
    in an old sky. Slight flamenco flares arc off Harrison
    Bankhead’s bass; the Africa Brass octet which earlier
    were turning on dimes, polishing the bop now construct
    a slow monolith for Steve Berry to ponder over…until
    there’s these crazy feudal/futuristic fanfare. Then
    saxist Ari Brown gets a chance to wail on this triumph
    of a track. That heaviness keeps a rolling into the
    thick bluesy Louis Armstrong triptych tribute. Dee
    Alexander starts that on the dark side of the moan,
    it then jumps a train and ends as a playful talking
    blues against Berry and Brown, now on clarinet. Read
    the booklet’s understory arguing against divisions of
    blues versus jazz in words, the best argument is the
    music… Ends up in fun at the “Mudhole.”

  • Reviewed by Thurston Hunger on December 3, 2003 at 4:20 pm
  • Filed as Format,CD,Jazz
  • 1 comment


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