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Fall, The – Fall Heads Roll – [Narnack Records]

Manchester, England’s The Fall is back with the latest in their uncountable number of releases. When I opened the CD I thought, ‘Wow, they really changed their line up.’ But don’t worry: Mark E. Smith and company have merely substituted pictures of themselves with pictures of Rwandans for some reason. However, since The Real New Fall LP there is a new bassist and drummer as well as someone named Dingo joining in on banjo and bass.

For 14 songs and almost an hour, Fall Heads Roll will keep you in thrall as it crashes, rumbles, and thunders. There are respites like Midnight Aspen (4) and its Reprise (6) that allow you to catch your breath, but for the most part this is straight forward aggressive rock and punk rock.

The band sounds great with its stomping chainsaw guitars and sawed off synths, but the real attraction is Mr. Smith twisting the language to get his point across. A lot of lines have the suffix ‘uh appended. As in I read the newspaper-uh. It made me unhappy-uh. and this blunt but effective line from the first track: You’re a nothing-uh. At times the lyrics drip with sarcasm and disdain. Other times he sounds like someone yelling incoherently as he is bring dragged out of a bar. Or maybe he sounds like a battle MC after having a stroke or after dental surgery. Which is to say it is so great.

Flip through the tracks, and you will find something you need to hear. I found that for a few hours after listening to this I had free access to the darker side of my personality. Such is the power of this release.

–Hunter Gatherer

  • Reviewed by Hunter Gatherer on October 31, 2005 at 10:08 pm
  • Filed as A Library,CD
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  • Breakestra?Hit The Floor – [Ubiquity]

    The world has waited four years for this release from L.A.’s live soul ensemble Breakestra. (2001′s The Live Mix, Part 2 is in Hip Hop/CD.) They appear to have moved from Stones Throw to Ubiquity.

    Breakestra mastermind Miles Tackett and his inhumanly talented musician friends give us just over an hour’s worth of original funk/soul/hip hop/soul jazz compositions. They ask (and answer) the music question: Why go to all the trouble of sampling break beats and digging around in musty record stores when you have the DNA to soul music embedded in your head, heart, and butt?

    The music is 2/3rds looking backward and paying homage to 70′s soul and funk masters like The Meters, The J.B.s, and countless others while the other third is looking forward to the unlimited possibilities that lie between genres.

    Instrumentation: guitar, bass, drums, sax, trumpet, trombone, fender Rhodes, flute, bari sax, organ, upright [sic] cello. Vocals are provided by Mix Master Wolf and Music Man Miles with guest vocals by Darryl Jackson (14) and Chali 2na (of J5), Soup, DoubleK, & Darryl ‘Munyungo? Jackson (11).

    This CD sounds good on every sound system in my house. How do they mix it to do that?

    Instros: 4, 6, 10, 12
    Language: 14: ‘Kiss my ass?
    –Hunter Gatherer

  • Reviewed by Hunter Gatherer on October 31, 2005 at 10:06 pm
  • Filed as CD,Soul
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  • New England Roses – “Face Time with Son” – [Doggpony Records] (CD)

    New England Roses have a lo-fi, DIY, friends-hanging-out-having-fun sound on this release from 2005. Featuring JD Samson from Le Tigre, Sarah Shapiro on vocals, and Brendan Fowler, they have a sound that’s a cross between feminist punk pop and the unpracticed sounds of My Pal Foot Foot-era Shaggs. In “Kids in the City” they yell “We are the kids in the city, losing our virginity in Central Park” , making me think of the rebel kids of Larry Clarke’s films. They end with covers of songs by Dave Matthews, George Michael (“Faith”) and Tracy Chapman (“Revolution”).

    -Cynthia Lombard

  • Reviewed by lombard on October 26, 2005 at 4:10 pm
  • Filed as A Library,CD
  • 1 comment
  • Danny & the Nightmares – “Freak Brain” – [Sympathy for the Record Industry] (CD)

    Tormented musical genius Daniel Johnston is apparently in a good mental place right now after years of battling mental illness. He’s been releasing music for 25 years now, with his first cassette in 1980. I particularly enjoyed this 2005 album, where he’s joined by friends doing creepy, horror-movie themed rock. Haunted houses, Lucifer/Satan, death, Jesus and love are components of the overall story on this outing, which is great 4-track recorded lo-fi fun in time for Halloween.

    -Cynthia Lombard

  • Reviewed by lombard on October 26, 2005 at 4:06 pm
  • Filed as A Library,CD
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  • Whip – “Atheist Love Songs to God” – [Resonant] (CD)

    Whip is the solo project of Jason Merritt (also of Timesbold) of Brooklyn, this being his 2nd release. It begins in a folky vein very akin to Will Oldham and ventures into country-inspired territory on “16th & Mission.” With his gravelly vocals Merritt sings about Kurt Cobain on one track and is inspired by Tom Rapp, Lou Reed, and Leadbelly on others. This is an enjoyable, introspective album.

    -Cynthia Lombard

  • Reviewed by lombard on October 26, 2005 at 4:01 pm
  • Filed as A Library,CD
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  • Xxl – “!Ciautistico! ” – [Important Records]

    Cross-cultural collaboration of local yokel Jamie Stewart
    having Xiu Xiu shooed over into the Italian ointment that
    Larsen oozes. Stewarts vocals last seen by me swapping song
    sheets with the sadly deceased Bunkbed, are recognizable a
    continent away. They are not harrowing but HARROWED. I always
    envision his hair going shock white everytime he sings. On
    this release that only happens three times (#1,4,7). Lyrics
    seem to be trying to steady the uneasy singer with lines

    “Don’t worry boy, I’ll be there for you”

    “Where did this courage come from”

    “Ridicule is nothing to be scared of”

    The latter coming from potential paisano Marco Pirroni aka
    Adam Ant’s “Prince Charming.” Much of the album has a blurry
    soundtrack style from Larsen, soft brushing rhythms and guitar
    getting mandolinotinted, breathy accordian and hummy synth.
    The music ends up being surprisingly comforting in ways
    that words, and starter pistols, fail.

  • Reviewed by Thurston Hunger on October 23, 2005 at 9:03 pm
  • Filed as A Library,CD
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  • Tujiko, Noriko – “Blurred in My Mirror ” – [Room 40]

    Hey there’s a whole other wing to this bedroom-fi music, over
    there under the crazy canopy in the corner, floating in a
    light trip-hoppy other-planet-poppy breeze. It’s toenail-gaze,
    cause the shoes are off, she sounds like she’s singing to her
    blog. We are spoiled on the first track, which is this side
    of introspective heaven, and complete with some great naked
    English lyrics. Really it is tremendous, with its shuffle and
    its poetic malapropisms propping up a vaguely romantic yet
    dream-going-nightmare vibe. On the rest, I’m lost without
    translation… There’s plenty of English on here after that
    initial flash of genius, but not in the singing…instead its
    in the dabbling cabling of modulars and oscillators of one
    Lawrence English. The two make a nice patch, formulating
    their own sort of Digital Intervention. But Noriko’s voice
    is not overly seductive, nor stylized, its charm is in its
    gentle understatement. Like walking in the dark in a room
    that you are unfamilar with. On the last track they slip
    butterfly kisses in your ears, then an overlapping array of
    humming and murmuring before a knowing laugh.

  • Reviewed by Thurston Hunger on October 23, 2005 at 9:01 pm
  • Filed as A Library,CD
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  • Cutler, Ivor – “Dandruff ” – [Virgin Records Ltd.]

    Something about this, above the fact that John Peel (RIP)
    championed this man. Something to the left of the rumour that
    Ivor may be Chris Cutler’s father? Something about Mr Buster
    Bloodvessl in “Magical Mystery Tour.” Something about how
    Mr. Cutler’s voice can sound like the bottom of a pint. Or
    maybe sounds better after hitting that bottom. Something
    about his skittish Scottish quick sketches, with sloppy
    precision in words. There’s that unshakeable feeling that
    you’ve entered the home of a friend, and there’s his
    strange uncle making these stories/recordings off the hall
    in a side room. Or when he’s singing over his harmonium, it
    seems it could be someone mockalizing over a church hymn
    and coming up with peculiar tales regarding lemon-faced
    friends, and the love of mice and belief in bugs. To me,
    he’s just kept the connection open to his inner kid, with
    a self-satisfied silliness in singing to “the hole in my
    toe.” Evidently he has done children’s books! After awhile
    his dead-steady delivery and syrupy accent make the most
    peculiar nonsequitirs, sit up and sequit. I guess this
    “Dandruff” just came from him scratching his head and
    seeing what thoughts fell out. We need the full scalp
    massage… Phyllis King pops in like a sparrow here too.

  • Reviewed by Thurston Hunger on October 23, 2005 at 9:00 pm
  • Filed as A Library,CD
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  • As Mercenarias – “4 Demos / Bonus Single ” – [Soul Jazz Records]

    Bonus single of early demos for this Sao Paolo gang of wow,
    hyping the rock solid full length comp. This was recorded
    back around the early 80′s and evidently poised for a
    regrouping now. The original group offered jittery power,
    trashy guitar snarls, a raw-throated diatribing from Rosalia
    Munhoz on vocals. Each of these four songs are little
    shredders. Gone in a flash, but power kegs of angst rock. The
    lurching stop/star of “Oh Oh” is nicely mated with some
    alien fembot background vocals. “Honra” allegedly has the line
    “the honor of a man is in his ass.”
    Which could be flipping the sexism mirror, or just dealing
    with more macho shit. Or hell, maybe they’re talking about
    burros?’ Even without a translation, you can taste the
    irritation and exuberation here, feminist more in its own
    celebration, than in battling off the threat of us cursed
    Y-chomosome zombies. This doesn’t pull a punch, and connects
    repeatedly. This. Is. Rock. Every bit as immediate now as
    it was 25 years ago!

  • Reviewed by Thurston Hunger on October 23, 2005 at 8:59 pm
  • Filed as 7-inch,A Library
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  • 21.PERON – “Anlatamiyorum ” – [Arkaplan]

    Turkish troupe from the 70′s, adding this as a teaser to a
    more sweeping full-length to be added to KFJC’s arsenal soon.
    Here’s we’ve got a pretty straight forward peppy pop tune
    on the first side, followed by violin leading a bass line
    though a forest of synthesized mushrooms sprouting up. The
    violin gives it a bit of a bumpkin feel, but the synth is
    prog rock do its very squishy Keith Emerson soul. Then in
    races the little competing fuzzed out guitar line in
    contra-melody to the violin. Never quite breaks the
    atmosphere to galactic crossings, but has a nice ride in
    the stratosphere side to it. I found the full-length more
    compelling, even more Byzantine one could say, and for that
    we now go to our reporter, Pete Dixon…

  • Reviewed by Thurston Hunger on October 23, 2005 at 8:59 pm
  • Filed as 7-inch,A Library
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  • Jahcoozi – “Black Barbie ” – [Kitty Yo]

    Man this is THUMPING music, maximus. Bound to provoke
    involuntary muscle twitch, with an aroma of aphrodesia,
    and occasional laughgasms. Something about this is just as
    funny as it is sexy…and well super stupid. It’s not just
    the work of vocal lolita Sasha Perera. The bass lines are
    wide for the ride, the drum machines get giddy (especially
    on “Tourist Guide”) On “Black Barbie” there’s this great war
    whooping along with popping bubbles of champagne carbonated
    with cartoon bullets bouncing around. The photo of this fine
    picture disc is worth 1000 words and a couple of grams out
    in the alley. This thing reaks of a party, that musty sweat
    and stale beer scent, along with a general dizziness. In the
    haze, you almost think you hear Santana getting copped on
    the second version of “Black Barbie.” Look out towards the
    end of that track (A2) it boops over to blooperville including
    a fun and big ol’ “FUCK” that launches into a rapid fire set
    of rhymes that takes the faux studio audience on a roller
    coaster. Even more risky, if you play this at 33 instead of
    45 RPM, you’re going to give Sasha a sexchange.

  • Reviewed by Thurston Hunger on October 23, 2005 at 8:58 pm
  • Filed as 12-inch,A Library
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  • Necks, the – “Photosynthetic ” – [Long Arms]

    The dew point of focus, the combination of concentration of
    thought and concentrations of water. This album hangs on
    the precipice of precipitation. One lengthy 42 minute track
    builds like a storm, and again showcases the Necks strength
    in heavily repeated passages with subtle variation as a form
    of audio hypnosis. The piece begins with Chris Abrahams’
    contemplative piano fluttering, Lloyd Swanton sinks a primal
    bass anchor note into the mix…and Tony Buck gently makes
    his entrance brushfully jumping from cymbal to cymbal, like a
    tiny frog going slowly from lillipad to lillipad. A key with
    the Necks is their pacing…even though the piano flurries
    whip around, they move as a unit in such a relaxed manner
    it is the perfect tonic for freeway deathrace automatic
    instantaneous technopolis that blankets much of the earth.
    As the piece goes on, Swanton in particular gets to get a
    little gutter-nutter, and he sort for chases away Abrahams
    fluttering. The rain never pours down, but it does sort of
    get sprayed about on this before the sound all just finally
    dries up. Another solid release in the Necks tradition,
    the more you put into it the more you gain, as the hyper
    attentive Russian audience learned at DOM (an anagram for
    home in Russian). This CD’s a reign-maker if you will.

  • Reviewed by Thurston Hunger on October 23, 2005 at 8:57 pm
  • Filed as A Library,CD
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  • Invisible Pyramid [coll] – [Last Visible Dog Records]

    Lawdy this is massssssssssiiiiiivvvvvveee!
    Each disk alone is more than a meal, the calvacade of artists
    would be a festival to end all festivals. Free rock mining
    yields a motherloding mind-rush. Somewhere in the psych melee
    that is Bardo Pond’s “Bufo Periglenes” my heart stopped cold,
    I died, I disappeared. Only to rematerialize in an acoustic
    rebirth at that song’s end. Fun with Fonal friends, and I
    remain convinced that Steven R. Smith has dialed my psychic
    connection line, nice metamorphosis in his moth’s middle.
    Breathing exercises with fair Fursaxa, the long tooth of
    Wolfmangler, static triangulation via Ashtray Naviations,
    A loony parade from Avarus, dodo-a-gogo? Or a-gone, aghast.
    The cuts share that LVD appreciation for sonic vortices
    with artists given ample time to explore phase shifting.
    Meanwhile titularly the pieces tribute those gone before
    us. The sound lives on past their extinction…the story of
    the Huia alone is lamentable. And what of the Drunken Fish
    its legacy lives on etched in vinyl as surely as this CD
    six-pack will leave its rings around for future fossil
    finders. High accolades to Chris for shooting the Moon,
    and praise be to Dog!

  • Reviewed by Thurston Hunger on October 15, 2005 at 10:15 am
  • Filed as A Library,CD
  • 1 comment
  • Bishop, Alan (Alvarius B) – “Blood Operatives of the Barium ” – [Abduction]

    The best bluesmen, they always had flies on their tongues,
    and the best drinkers, well they swallowed the blood of their
    young…childish gods among men. They spoke in riddles, and
    choked metaphors in their beds till they lost their heads and
    wound up like synecdoches running around like all hands on
    deck. Alavarius B might be Alan Bishop of the Sun City Girls,
    he also might be the cloaked figure prying open your bedroom
    window to slip in beside your dreams…astride the corpses
    there piling up like the murder ballads Johnny Cash is singing
    in heaven before being resurrected as the very acoustic guitar
    now crumbling in the hands of Alavarius B. Aurora ourorboro
    Alice could have done so well to have fallen through a hole
    into this wonderland of song and strummage. One foot in
    courage, one foot in confrontation. Heads are gonna rock and
    heads are gonna roll here. There are some bad words, there
    are some worse people…they all show up here to look at you
    in the mirror. This is Herman Melville’s favorite album,
    and mine too right now.

  • Reviewed by Thurston Hunger on October 15, 2005 at 10:11 am
  • Filed as 12-inch,A Library
  • 1 comment
  • Horton, Robert – “Just Before…Setting the Sky ” – [Barl Fire Recordings]

    Holy ping-pong, local artist Robert Horton bounces his music
    across the pond to Barl Fire-brand Simon Allen, who releases
    it and sends us a copy of this slice of psycho-active sound.
    Horton covers his sonic tracks in an array of odd acoustic
    and electric instruments (evidently including “sheep’s toes”)
    the listener is never quite sure what exactly their ears are
    floating in. Dan Plonsey is in the mix as well for some bean
    and brain bending. Some acoustic scrape and drone-groan of
    strings are evident in the earlier pieces, they never hit a
    sort of Alastair Galbreath or Steven R. Smith emotional
    critical mass, instead most pieces seem content to dwell in
    suspended soundlight and live electronics. Pieces here often
    play with the space that Pelt likes, the moment *before* the
    event happens, for some this can provoke anxiety and in
    extreme cases an odd outburst (check out track #13). The last
    track dices up that moment into discrete blips.

  • Reviewed by Thurston Hunger on October 15, 2005 at 10:10 am
  • Filed as A Library,CD
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  • Kervorkian – “Who Is Who ” – [Day After Records]

    Czech mating of eastern european ire and english lyrics. A
    loud and proud “FUCKING” is going to save the best track for
    the DJ’s of the night. That track “Pink Panther” opens the
    B-side with a whispering witch’s brew of incantation and bass
    before the drums start to whip the piece towards the edge of
    a cliff, guitar scraping along the way. Excellent stop/start
    dynamics and very precise percussion keep this one on edge.
    A quick breather and then a short slugfest with lyrics that
    get lost in the mirrors of mind. On the A-side, “Who is Who”
    takes a nice crooked drum solo into a bridge out of a pretty
    straight-forward straight-edge number. “The Magic Box” has a
    Detroit, Rock City kinda swagger. Not a lethal injection, but
    a good enough reason to live… Which I’m not sure this band
    did, this came out back in 1999 and I haven’t found much
    further evidence of survival.

  • Reviewed by Thurston Hunger on October 15, 2005 at 10:09 am
  • Filed as 7-inch,A Library
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  • Blackshaw, James – “Celeste ” – [Barl Fire Recordings]

    Sometimes a simple acoustic guitar becomes much more than a
    guitar, it opens up like a church, with its nave disappearing
    through the heavens. Or maybe its wood somehow recollects an
    earlier existence in an isolated idyllic forest? Blackshaw’s
    12-strings resonate with a single mindedness here, especially
    on the initial slice of “Celeste.” That shines with the same
    dark power and glory that often Six Organs emit. There are
    several passages where it sort of finds a cycle to rest and
    revitalize in before launching forth again, it just breathes
    so perfectly. Also with the open tuning, you get the shimmer
    of harmonics cast atop the piece at times. Evidently young
    Mr. Blackshaw (in his early 20′s ?’? but definitely offering
    sonic timelessness) went wandering about New Zealand (which
    recalls another tale of intro guitar travel-revelry from
    Roy Montgomery). The open C surrounds these two tracks,
    moving from the moody minor through a fog of farfisa and
    drifts of delay and winding up in the sunshine spiral and
    -uick major key trills of the closing piece. More please…

  • Reviewed by Thurston Hunger on October 15, 2005 at 10:08 am
  • Filed as A Library,CD
  • 1 comment
  • Camille Sauvage “Fantasmagories” [Zippy]

    Many listens later, I still have no clue what’s going on. I definitely have no idea who Camille Sauvage is. Pseudonym for a French percussionist? Is this a soundtrack? A concept album? Is it Jazz? If you know, please let us (ahem, me) know here in the comments section!

    The music is very well described as the unholy love-child of Henry Mancini, those West Side Story drum outbursts, and a circus funhouse. Indeed, after the first few minutes I was reminded of Fantomas? Delirium Cordia release, but it veers away from such heaviness quickly. It seems as if it’s played by a traditional jazz band. Half the tracks are a bit ambient (especially 7,8, 12) and tend towards the background, the other half demand some attention. Very heavy on the drums (especially tracks 4 and 9) and random percussion instruments (especially track 10), including vibes (especially 3, 11) and an occassional jew’s harp appearance (6). Those hungry for some human presence will not find much; some finger snapping on track 6 and the briefest of appearance of a female voice (maybe) on the quiet track 11. Many of the earlier tracks end in a short burst of activity. All the crazy titles make the album out to be creepier than it actually is; nevertheless, added just in time for Halloween!

    -Cujo, October 2005

  • Reviewed by cujo on October 14, 2005 at 6:51 am
  • Filed as A Library,CD
  • 1 comment
  • Krzysztof Penderecki “Musica da Camera” [Wergo]

    I know what you’re thinking. ‘Gosh-darn, I want to play some chamber music soooo bad. But I don’t want any of that namby-pamby Beethoven stuff, not even the late quartets, not even the Grosse Fugue! I need angry Polish people beating their instruments, scraping their cellos? private parts, extruding sounds from their fingerboard. Maybe instead I want newer, calmer music that can soothe and sound good, plagal cadences be damned!. Heck, I’ll even stoop so low as to settle for a clarinet, ‘I’m this hungry. And I only have 10 minutes til my next air break!?
    Well, have I got the answer for you. Praise the heavens for this Wergo release of (most of) KP’s chamber music, all short pieces perfectly suited for our break clock. KP is mostly known for his larger-scale works, but these small works prove that KP is the real deal, the total package, a genius large and small. The 1950s student-era works are have the most classical bent to them (especially the Sonata), dig the Webernian atmosphere in the 3 violin miniatures. The 3 works from the 1960s have the most adrenaline and percussiveness to offer; the two quartets are just crazy (remember #2? I think it’s the bed over which Linda Blair throws up…) and the Capriccio is a solo cello showpiece. The 1970s? Apparently quite forgettable. The 1980s pieces all are much calmer, the Gedanke is almost saccharine, the viola Cadenza rivals Berio’s sequenzae, and Per Slava, while it has the name-drop going for it, turns out to be the least engaging piece on the disc – blame the not-Slava cellist? I was taken by pleasant surprise by the two clarinet pieces, the Prelude especially. And the longest piece at 13:35 is the 1991 String Trio, a virtuosic whopper, a return to a more visceral and threatening style: fierce repeated chords heralding solo meditations, finishing with a frenzied fugue. -Cujo, October 2005

  • Reviewed by cujo on October 14, 2005 at 6:51 am
  • Filed as A Library,CD
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  • Moncur Grachan III _”Aco Dei De Madrugada” [BYG Records (in collaboration with) Get Back] (33 rpm)

    (Out of sight) Jazz Lp
    ‘One morning I waked up very early[?]?
    The architecture of the compositions feel cosmological, as if it were an ancient worldview, and as if in a place like hawaii where you can see the sun rise so much earlier, the title which translates as I quoted (and is on the cover), and which the adjacent front cover picture expresses quite well, that it seems the music was made, as the sun refreshes the sleep deprived when they are at their most fatigued, earlier than ever waking up for, and later than stay awake for, which seems to bind into certainly the motif of the starter track, also the title track, but also in the variations of that motif, in each following track. Of course the album is not as saddingly catchy as that first motif, and real as it is, with that folk, being old kind of sadness, that dependency in a melody, the sort of plaintive whistle of overwork and depressing relationships, the rest of the album is really great, phase developing, jazz. The piano, by Fernando Martins, who recorded this year, 05, under the Fernando Martins Trio, a self titled work, released on the DeLira Musica label based in Brasil (http://www.deliramusica.com/ , goto catalogo, which is the catalog of their releases simply enough, which is alphabetical, by first name of the band leader, which has two poor quality samples), has quite a Matthew Shipp “Pastoral Composure” (Matthew Shipp Trio, ’00, Thirsty Ear release), first impression (especially Ponte lo), but certainly the intent behind the repetition similarities, for example, are different, Nelson Serra de Castro (Drums) plays like he knows Martins does not want an over interpretation of his lines, although the piece does phase, and alter significantly, and although the pieces may be more preconceived prior to this record of the work as released. This is not difficult, but it is not predictable either. There is a strong groove to all four partitions. As to Moncur, this is certainly a place apart from (Moncur, Grachan – “Evolution” [Jazz][379010]) and “Echoes of Prayer”. This central divergence would have me recommend this as essential listening for a tour of Moncur’s output (you might want to check out this discography, http://perso.wanadoo.fr/hardbop/Moncur.htm ,but i don’t vouch for it). The title track I can not live without, but what melodies are personally strong for me, might not work for you.

  • Reviewed by scrub on October 13, 2005 at 12:05 pm
  • Filed as 12-inch,Jazz
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