Much like the A La Carte Brass & Percussion we have added recently, this group is not from New Orleans but they have learned well from the many 3rd Generation street brass groups of New Orleans – recently they went to that city and won first place in a semi-formal competition for this style. Not bad for a bunch of white highschool punks from the Milwaukee area who used to call the group ” One Lard Biskit.” Very tight horn section, fluid bass-tuba lines, good drumming, solo and group vocals and a overall sense of fun and well learned roots make this a worthwhile addition to the KFJC library – check it out! *review by David Richoux
Fresh from his appearance at a local bowling lane (well, actually recorded a couple of years ago) – Rent Romus and his Life’s Blood Trio take on some classic Mingus bop, Dolphy freejazz and some fresh honkin’ squalkin’ screamin’ Saxophone displays – minimal but very supporting bass and drums let Rent go wild on his horn. You know what you are in for, so you Better Get Hit In Your Soul! *review by David Richoux
A lot of die-hard jazz fanatics were extremely pissed when Miles went into his “electro-fusion” period, mixing effects, rock instruments and “non-jazz” elements to his work. This recording is a tribute to those times (much like “Yo Miles”) but the focus is more on the interplay between the sax and trumpet with the rhythm section mostly relegated to laying down a strong groove. Marc Collins on didjeridoo (track 4) is a nice change-up. If you like Electro-Miles, you will like this recording… *review by David Richoux
Having nothing to do with disappearing Navy ships, AIDS or Kate Hepburn – this is a funky, soulful yet bouncy mostly drum/bass/keys trio with some guests. Very tasty rhythmic structures and snappy bass playing set this above a lot of other similar recordings. I put this in the same class as Soulive but the feel is very different. Track 5 is a cool take on Marvin Gaye’s Trouble Man Theme and track 10 is a slightly less cool take on Elton John’s Philadelphia Freedom – almost like a modern folk song version with Cello. *review by David Richoux
Most tracks here are composed by Annette Peacock (except “Annette”) and are generally slowish, introspective and sometimes pretty. Her story in avant jazz & rock is unusual – she played one of the first Moog synths in public performance. (check out www.geocities.com/~zoom14st/ap/intro.html) She has had a long relationship with Paul Bley that was more than just music. Recorded at radio Bremen studio during 1992, Paul is the central focus on piano but Franz on flugle/trumpet has a lot to say. Gary peacock is mostly in the background…
*review by David Richoux
Yet another interesting combination of instruments and musicians from Knitting Factory – this time Charlie Burnham on violin (plucked or bowed) and mandolin sets a different mood for an otherwise “traditional” combo. He sometimes plays mandolin sounding something like Yomo Toro (Puerto Rican master of the Quatro) for a driving, non-bluegrass feel. Everybody else is likewise experimental but focused – not too much squonk but it stays exciting throughout the recording. Track 4 is a bit more like a slow blues – and like track 7 is very pretty. *review by David Richoux
I actually say this guy play 15 years ago at the Scottish Games in Santa Rosa – among all of the traditional pipe bands (most of the audience did not “get it” but I thought it was a great idea.) Rufus Harley has to work extra hard to play jazz on the pipe chanter (the fingered part sometimes used without bag or drones) and the full “war pipes” because of the limited number of notes that can be played on the beast. This is a collection from various mid 1960’s Atlantic recordings and also features him on sax and flute. Some tracks are closer to novelty than jazz but they are all quite interesting. He has kept on playing (read the booklet) and there still is not another major jazz bagpiper after all these years! Wonder why….’ *review by David Richoux
Andrew Hill has been around the mainstream since the early Sixties, composing and playing piano with Dinah Washington, Roland Kirk and many others. Here he has assembled a team of “Knitting Factory Types” to check out this next century of jazz. Moving from slow and mellow piano with horn ensemble to moderate new-bop to rhythmic pomp (almost Latin but still outside that) to trumpet ballad to playful joys. There are new and old things together here, tasteful and sweet, but with an edge you will like.
*review by David Richoux
According to “official web info” there was a bit of a flood at the D&T warehouse so a lot of CDs had to be reprinted. Good thing, cuz this is some really fine stuff from the Austin-moved-to-New York trio. There are all sorts of things on this CD from danceable modern rock-jazz-rhythms to ethereal bloots and humms from Brian Wolff’s electro-tuba. Crazy guitars, reeds, percussion, trumpet, whistles and duct tape all add to the strangeness from this trio. Eclectic would be the word for it, yes, that’s it! *review by David Richoux
Ah! The Early 60’s when everybody wanted to be a folksinger… magazines like Broadside were everywhere around colleges, camps and coffeehouses. They printed the music and words with chords so anybody could learn the latest songs. It was not a bad thing to be a folkie then – it was even hip! These tracks are somewhat lesser known pieces by singer-songwriters that had some fame (Reynolds, Ochs, Ian, Seeger and “Blind Boy Grunt”) and some not so famous. Some tracks are a bit tedious by modern standards, but that was the style. A few cuts are closer to delta blues and the last track is much more dramatic with a full band and the story of rape revenge murder and women’s liberation. *review by David Richoux
Before you do anything with this, read the liner notes inside – hilarious! Then appreciate the extra fine quality this group puts into this music. Taking elements of various sorts of historical jazz, R & B, western swing and near rock & roll – these guys know their shit – there are some very fine vocals that wander around Tom Waits territory, a neat-o spoken word thing (eight and 13) and a killer Caravan (11.) Highest praises for the fiddle (also the vocalist), sax, bass and drums.. the others ain’t bad either! For once a modern/retro small jazz group that can do original stuff that feels new and old at the same time – not an easy task! Extra Swank Quality – now we gotta get their first record… *review by David Richoux
Yet another in the series of recent recordings from various members of the AACM on Delmark, this time with percussionist Kahil El’Zabar’s Ritual Trio teaming up with Art Ensemble’s Malichi Favors on bass and guest Pharoh Sanders on reeds and piano. The result is very tasty free jazz with a mystical flavor – not a crazy as some of the Art Ensemble stuff from the past, not as long winded as some of Sanders recent recordings – if you can fit longer tracks into your show, give this a try! *review by David Richoux
Nothing but solo 6 and 12 string guitar here – no vocals, no drums, no nothin’ but that does not mean this is a lightweight recording. The tunes seem to be improvised to a point but there is a lot of thought behind the improv. This was actually recorded back in 1972. Lang is a friend of John Fahey and the recording was produced by Kerry Fahey (could not find out the relationship, if any) coming out of the late 60’s folk/blues/jazz thang. Some of the longer tracks seem to drift off into another world, but I think you will like the trip… *review by David Richoux
Channeling Bertold Brecht and Hoagy Carmichael via Loony Tunes, the ICP (Instant Composers Pool) Orchestra once again takes a odd look at modern composition, improv, jazz, swing and other fun things for this project. Strings and horns poot forth a wonderful stew with a sometimes feverish rhythm section (Han Bennink is dictator with Ernst Glerum on plucked & bowed bass) punctuated with co-leader Misha’s piano and unaccredited minimal gurgling vocals from time to time. As their website says: they are preferring to be, well… Dutch.
Lots of short & tasty tracks. I don’t know if this is a conducted group in performance – we will have to see when they come to Kuumbwa 10/26/04. If you like this, also check the jazz library for another Dutch wacko ‘orchestra:? Willem Breuker Kollektief.
*review by David Richoux
This is not actually ‘Tubby The Tuba? but more of a copyright skirting song ABOUT the song ‘Tubby the Tuba.’ A 1960 release by kiddie music rip-off artists Michael Reed and the internationally infamous Peter Pan Orchestra. A bit scuffed and scratchy, but fun/stupid. Flip side is not much better… The REAL ‘Tubby? was written by George Kleinsinger in 1946 with lyrics by Paul Tripp – first of 4 different Tubby episodes (Circus Band, Jazz Band and Further Adventures of Tubby – with a marching band!) and has been performed by such greats as Danny Kaye, Annette, Julia Child – and all four were done recently by The Manhattan Transfer.
Tuba players do this at gunpoint (or for big piles of money) but it has stereotyped the instrument worse than any other song I can think of! *review by David Richoux
25 years for Brave Combo! Wow. This is all new stuff from the co inventors of Punk Polka, a fine fun mix of edgy polkas, twisted Tex-Mex waltzes and two versions of ‘Take Me Out to the Ball Game.’ For you beer & sausage fans, an Oktoberfest polka – not “Fill The Stein” from ‘The Simpsons? episode Brave Combo did (but their version of the Simpsons Theme that closed the episode is here and it is great!) Lots of original songs and lyrics in a variety of danceable genre. Not as outrageous as Polkacide (the other co inventors of Punk Polka) but they won’t ever be confused with Frankie Yankovich… *review by David Richoux
Spanish Surrealist, Modern Art & Architecture and Jazz? Sure, why not? With graphic design that directly quotes the Miles Davis / Gil Evans masterpiece ‘Sketches of Spain’ this is the first of 3 in a suite of jazz compositions inspired by Dali, Miro and Gaudi. Recorded in San Francisco in 2001, this has a kind of post-bop cool flavor, not really very surreal at all. Still, it is a nice work and it should be interesting to hear the other two sessions. Added Note: Dali, Miro and Gaudi were all from the Catalonia region but are often misclassified as “Spanish Artists.” Some (many) Catalonians do not consider themselves to be part of Spain – there is a strong separatist movement. review by David Richoux
The mixing of improv jazz and the writings of Edward Gorey is not a far-fetched thing. Macabre poetry, twisted words and spooky imagery and pooting saxes, plopping pianos and tweezy guitar & synths seem to go together like black oil on toast. This is mostly very minimal style, moody and sparse, some attempt at melodic lines (but some tracks pick up a little steam after a while.) The lyrics are read not in exact time with the music. Lol Coxhill and Julie Tippett take turns with the readings, but ‘duet? on #2. I like it all! *review by David Richoux
This recording of gospel music goes directly back to the roots of pre and post slavery days 150 years ago. Even without the organ, drums, guitar and bass they normally use this award winning Oakland choir still is powerful and beautiful with classic arrangements of “Negro” Spirituals. Some you may recognize (Tracks 2, 8, 12,16) and many more are obscure but still worth a listen. Some are up and joyous, others are way down and soulful. You will hear some elements that helped lead to the development of blues and jazz but these works also stand on their own merit as a great American artform. Come on and Wade in the Water, Children! *review by David Richoux
very nice but energetic vibes-bass-drums instrumentals. A bit different feel from other recent vibe trios, maybe because the leader is the drummer. Most tracks are originals but there are a few covers of Bud Powell and others. It is hard to have “Edgy” music on vibes so this tends towards “Easy” instead. *review by David Richoux