KFJC 89.7FM

Black Joker – Watch Out- [Pacific City Sound Visions]

Thee Opinataur   10/13/2021   12-inch, A Library

Side 1 – Untitled

Opens with tribal drumming, adding high timber beats beginning the long quest upon camels in the fictional Chalisa Desert, circa 2027. This must be a long incessant dream of the artist ‘Black Joker’ 

Desert flutes romance the listener in the next stage of the quest, whose destination is unknown, and creates tension amongst the clan as to its purpose. Yet they continue along the windswept dunes. Their spirit is uneasy, yet this is who they are…tradition, culture, routine.

Mind spitting intermittent pings, relentlessly, over and over, as the sweltering heat overwhelms them, their minds are melting, yet the camels know the way, they have been here before.

Evening approaches, awakening from the unconscious spell, realizing their predicament, the pursuit of rest is near, and there’s a feeling of hopefulness, joy, that begins to awaken the spirit within.  

The pace quickens and is consistent as the drudge of the daily routine wears off and they inherently know who they are. The beauty of the blackness of the sky, the stars sparkle with the illumination that they not only seek but crave. 

Side 2 – Untitled

Another day continues similar to the last, methodical beat of the camels’ pace, and there’s a new inspiration unlike before, as a mirage appears in the distance. Even the knowingness of this false hope, the spectacular vision of the distant mountains lets them know they are closer to their destiny and offers a sliver of hope. 

the rhythm of the caravan is comforting to the soul and they know who they are…

Disruption and confusion enter in suddenly, as there is a treacherous path to climb, and it is the urging on of the leader that this is but temporary. The desert wind blows its might, but alas they are through it. Press on, press on, upward, onward….the destination is just over the summit…and it is clear, their journey is near the end. Excitement builds, as the overwhelming sandscapes begin to lessen and reveal the lush life approaching. We began together, this odyssey, wandering through the sand, and as the cool evening descends upon our arrival, we know this is just a temporary pause; we have not yet reached our final destination

Experimental musician Black Joker, aka Spencer Clark, The Skaters, Fourth World Magazine, Monopoly Child Star Searchers, Vodka Soap, 

abstract – ambient experimental, Desert atmospheric soundscape, hypnotic , tribal 

No Silence – Sounds of The Underground [coll] – [Psychic Eye]

Thee Opinataur   10/7/2021   A Library, CD

Released in December 2020, this compilation is jam-packed with 43 bands, heavily steeped in Oakland’s Darkwave and Punk scene. Curated by Akiko Sampson, the founder of Psychic Eye (who also performs in Yama Uba and the post-punk band Otzi) we find bands representing all regions of the US. Great care went into mastering these tracks by Michael Daddona of Ratskin Records who also contributed with his band Malocclusion. 

While many of these bands may not necessarily be familiar to KFJC, there are several, Anarchy-punkers Resist and Exist out of SoCal, Cold-synths L’avenir, from Baltimore, hardcore from Iconoclast, tripped out galaxy girl Maya Songbird and of course our dear friends Moira Scar.  

A wide range of genres fills this album, with large doses of Darkwave and Post-punk, as well as Dark punk, Goth, synth wave, cold wave, funk, hip hop, and more. It’s hard not to like any of these tracks, and I’m careful not to list favorites as there are far too many that simply stand on their own.  

Akiko Sampson’s motivation for this compilation was to raise money for two relevant organizations that effectively push for institutional change in hostile local environments; BLM Louisville and The Florence Immigrant and Refugee Rights Project, which represent migrants in ICE detention centers. Great music, even greater cause. – Thee Opinataur

O’Seis – Suicida/Apocalipse- [Mr Bongo]

Thee Opinataur   10/5/2021   7-inch, A Library

Both of these songs are drenched in morbid humor (see lyrics below). The record features anthemic, psychedelic rock undertones on ‘Suicida’ with deeper, tripped-out Brazilian Tropicalia folk, with mellow, sweet, harmonies, feel-good, vibes, on ‘Apocalipse’.   

Originally released in 1966, it was one of the rarest and most sought-after records. Re-released by Mr. Bongo in 2018, It was their only recording before three of them, Rita Lee and the Baptista brothers would go on to form Os Mutantes who went on to spearhead the Tropicalia / Psyche-rock explosion in Brazil a few years later. – Thee Opinataur

Sucidia

I scared out the other day and wanted to kill myself
I went to throw myself off the Tea Viaduct
The passing class didn’t want to leave
Life for my side was bad
Heavy conscience told me to jump
Heavy conscience told me to jump

So I decided to jump
The passing car I flattened
My head’s shaved
And the chauffeur inside screamed

The viaduct broke
Or someone crazy got
On top of the bonnet my body lay
And by my face the blood was dripping
They called my father but my aunt came
Take it to the morgue she wanted

For I no longer lived
Another useless man died

The next day the funeral came out
For the Fourth Parade he was heading
A black flower my coffin covered
Cold tomb the earth covered
It was another one that left
I was buried in my uncle’s shirt

It was midnight when I wanted to leave
The pit was tight for me to sleep
I was a ghost and I wanted to talk
With someone who was sitting smoking

It was an ordinary skull
You can’t even a**ustar me

Apocalipse

I’ll have the world in my hands (anytime I want)

And I want it all to end

My power will not be in vain (I destroy what comes)

The world will end

Everyone tries to escape

But it’s useless to live

Everything will be annihilated

And humanity perish

With screams of terror

They won’t know where to go

But only I know

That the world will disappear

Now I’m so lonely (and the world finished)

Without having someone to talk to

I then keep meditating (if I did something wrong)

And with the world ending

(If I did something wrong)

everyone tries to escape

But it’s useless to live

Everything will be annihilated

And humanity perish

with screams of terror

won’t know where to go

but only i know

that the world will disappear

Now I’m so alone (and the world is over)

not having someone to talk to

I then meditate (if I did something wrong)

And with the world ending

Pom Poko – Cheater – [Bella Union]

Thee Opinataur   10/5/2021   A Library, CD


A hyper-energetic noise- pop, surrealist art-punk, math rock, and grunge with offbeat song structures. You never quite know which way any of these songs are going to swing throughout the album.

Feminist lyrics, incessant energy, chants, bright falsettos, sharp diction, yelps, and guttural Bjokian snarls, comprise lead singer Ragnhild Fangel’s voice, and it makes for infectious ear-candy.
Martin Tonne’s heavy guitar riffs, jagged jazz-grunge guitar work contend against bassist Jonas Krovel and drummer Ola Djupvik’s funky rhythm section.

While the frenzy of rock ‘n’ roll guitars is the fuel behind the band’s songs, Fanglel’s strong voice powers along during the unprocessed rock instrumentation in the first 6 tracks as well as the more contemplative nuanced tracks in the last few songs on the album. – Thee Opinataur

Watch How The People Dancing [coll] – Unity Sounds from the London Dancehall 1986-1989 [Honest Jon Records]

Thee Opinataur   9/22/2021   12-inch, Reggae

These singles and instrumentals show no-name locals rocking mics over the toy-store electro-beats that marked reggae’s transition into modern-day digital dancehall. 

Presented as a next-generation companion to London Is The Place For Me: the mood is more defiant — a Jamaican secession from London — with themes of inner-city sufferation running alongside hymns to the dancehall & herb. Spot-on mastering from Moritz von Oswald. 

Tunes you would expect at the closing hours of the afterparty of a Jamaican dancehall mix. 

In the ’80s, when reggae was changing from roots to dancehall, the Unity sound system was already a big player in London. And when the digital sound started, they were inspired to start making their own tunes, instead of simply playing others. Using a Casio and a four-track cassette recorder, they laid down the rhythm tracks, then went into a real studio to add vocals and overdubs. On the majority of the vocal cuts, an instrumental “version” is appended (just as it would have played on a sound system). The result is true street-level British reggae from the dawn of the digital era, and all surprisingly good, given that none of the people involved were musicians — they all worked for Unity Sound, except for some of the singers. – Thee Opinataur

Crayola Summer – I Know Who We Are – [Emotional Response Recordings]

Thee Opinataur   9/22/2021   7-inch, A Library

Released in 2017

Psyche pop/ Indie Pop, Starts with head-bobbing rhythm fuzzed-out guitar-driven, Voxed out psychedelic trip. A thick and throbbing summer drive, top-down, cruising the PCH, playing it loud, great road trip music.

The artist known as Crayola was born Simon Williams in Leicestershire, United Kingdom.
Since the mid 80’s he has performed with numerous bands most notably, The Colgates and Sarandon.

Martin, Sara -1922-1928 – [Wolf Records]

Thee Opinataur   9/22/2021   12-inch, Blues

These recordings are a mixed bag of recording quality from track to track. Some lyrics are difficult to hear clearly, some fuzzy static which adds a nice raw element to these early blues.  

This album captures a wide range of Sara Martin’s vocal capabilities, from the higher range Achin’ Hearted Blues to a deeper more sensual register in Death Sting Me Blues. While her voice is solidly classic blues, in some of these tunes, she sounds unrelaxed and a bit uptight. She is at her best when she reflects her personality which comes through in ‘Taint Nobody’s Bus’ness If I Do’ and ‘Hole in the Wall’. A couple of nice duets with Clarence Williams, I’m Cert’ny Gonna See ‘Bout That’ and ‘Squabling Blues’ brings out her sassy personality.

Sara Martin (b1884 – d1955) was a well-traveled singer on the African American Vaudeville circuit in the early 20th century. Known as the ‘colored ’ Sophie Tucker’ and The Famous Moanin’ Mama” she was signed by Okeh Records in 1922 and recorded dozens of songs accompanied by the most accomplished musicians of the day including Clarence Williams, King Oliver, and Fats Waller. – Thee Opinataur

Yeats, William Butler -Poetry of Yeats: Read By Siobhan McKenna & Cyril Cusack, – [Caedmon]

Thee Opinataur   9/22/2021   12-inch, A Library

Recorded in 1958

Side A – read by Cyril Cusack – a famous Irish actor of his day, albeit South African born which can be detected in his voice.
These poems drip with a self-examination of human life and death, as Yeats spent much of his life examining. Threaded with somber tones and melancholy, he wastes no words in bearing his true inner self to the listener.

Side B – Read by Siobhan McKenna – Irish stage actor – born in Belfast
This side is filled with many of Yeats romantic and intimate poems of love and sensuality and is beautifully interpreted.

Yeats’s poetry reflects his sheer beauty of words and phrases. Many of his poems were meant to be chanted or sung.

Yeats, in addition to writing some of the best Irish poetry of his day, was also a well-established playwright being co-founder of the Irish National Theater society. While a self-professed Irish protestant, he shared a fascination with occultism and spiritualism which influenced much of his poetry. – Thee Opinataur

Baraka, Imamu Amiri -It’s Nation Time – [Motown Records]

Thee Opinataur   9/22/2021   12-inch, Jazz

Pan-African-themed concept album recorded in Harlem in 1972. Re-released in 2018, Segues between free jazz, R&B, and African drumming. There is a cover of the Supremes song ‘Come See About Me’, (A4), with Baraka adding a spiritual call to ‘Allah’. 

By far the most thought-provoking and articulate, well post-civil rights black awareness album I think I’ve ever heard. Amiri Baraka successfully imparts his message just direct talking politics and beliefs that don’t seem any less relevant listening now than when they were recorded in ’72. The music on here is fantastic too. There is some real sweet Motown soul, deep heavy Afro-centric jazz, not to mention the endless percussion and backing rants vocals and interplay. Poetry is rooted in Black-centric politics, positive and uplifting. Anyways, this blew me away and almost made me a card-carrying member of the Black Nation. Not just a spoken word album, much more, much respect to how the album draws upon jazz, R&B, and Soul that makes everything sound easy. It continues to crescendo into a higher and higher gear. 

Black people from all walks of life get up and get busy to cultivate the consciousness and commitment to come together to build Black institutions, mobilize and organize movements and fight for our liberation “by any means necessary.” It was an “all Black hands on deck” call to action for Black people to join the Black Freedom Struggle and to use whatever we had to achieve victory! and nearly 60 years later, many of these topics are still relevant. – Thee Opinataur

Perry, Lee ‘Scratch’ – Black Ark Classic Songs- [Ariwa]

Thee Opinataur   9/22/2021   12-inch, Reggae

Released in 2016 to commemorate Lee’s 80th birthday

Here we see yet another great collaboration with Lee Perry and Mad Professor giving us some classic Perry cuts a dub over. Cuts are re-recorded, re-vamped, and refreshed Lee has some fun with ‘No More Roast Fish’,  a play on his classic ‘Roast Fish and Cornbread’. Doctor Shit‘ sees Lee re-visit an old Ska classic ‘Doctor Dick!’

Many believe his Black Ark years were Lee’s peak period of creativity, and this album is a great representation with a fresh 21st-century facelift making it all brand new again. 

Amazing career, amazing life until the very end, RIP Lee ‘Scratch’ Perry, 1936- 2021. 

 Thee Opinataur

Bright, Jeff & The Sunshine Boys -I’m Still Missing You – [Waggletone Records]

Thee Opinataur   9/22/2021   7-inch, Country

Western noir, a twangy blue, countrypolitan/cocktail country vibe.

Both tracks are moody mid-tempo numbers with earthy nuance. 

Catchy simplicity of traditional country and western with the cool, casual euro of a cocktail revival meeting. 

It was the Mid Nineties, San Francisco was in the midst of a Western Swing revival. Jeff Bright and the sunshine boys were part of that. This single pre-dates their full-fledged dive into Swing, instead, it highlights Brights lyrics of love, loss, and yearning, with a band backing of vibrato, slide, and shuffle. – Thee Opinataur

Harlem In Vogue: Poetry Jazz of Langston Hughes [coll] – [Fingertips Records]

Thee Opinataur   7/8/2021   CD, Jazz


This compilation consists of four separate recordings from 1958-60. . The first ten tracks
are Langston Hughes accompanied by Leonard Feathers All-Star Sextet. The next eleven
tracks are Hughes’s poetry with Charles Mingus & The Horace Parlan Quintet. Six tracks
of Hughes poetry follow, closing with two tracks from Bob Dorough’s interpretation of
Hughes poetry. While Hughes did most of his writings years earlier, these were his first
attempts to bridge the jazz and written word. The ‘Weary Blues’ with Leonard Feathers
Quintet as well as ‘Motto/ dead in there’ are some of the best works on this lengthy
compilation. However, while some of his most important works such as ‘I have known
rivers’ and ‘I too’ are wonderful to hear from the author’s own voice, they could have
used some accompaniment. The last two tracks put this otherwise fine collection to
shame as the quality of Bob Dorough’s interpretation of Hughes falls completely flat. A
fine historical piece overall – Thee Opinataur

Infantino, Antonio -Tara’n Trance- [Amiata Records]

Thee Opinataur   7/8/2021   A Library, CD

Antonio Infantino was many things in his home country of Italy, visual artist, musician, artist, anthropologist, and poet. For several decades beginning in the mid-1960s, he revived and popularized the traditional Tarantella music of southern Italy. 

The tarantella’s origin is connected with Tarantism, a disease or form of hysteria that appeared in Italy in the 15th to the 17th century and that was obscurely associated with the bite of the tarantula wolf spider; victims seemingly were cured by frenzied dancing. 

On this album, he collaborates with electronic master Eraldo Bernocchi creating a contemporary new spiritual rave. 

These tracks will get you out on the dance floor whether you like it or not. Staying primarily in traditional Tarantella’s 6/8 timing, as well as 4/4 it spans the centuries harmoniously, making the old new again. You can envision the rural ancient days of peasants crying out, delirious, upon being bitten by the wolf spider. Modern-day victims trance, spinning uncontrollably, aching to be relieved of the toxin flowing through their veins. Hypnotic voices pulsating throughout, Italian, English, Arabic, Hebrew, as well as other regional dialects. Lose yourself in its maniacal rhythm.

–Thee Opinataur

Montoya, Carlos -From St. Louis to Seville- [RCA Victor/ BMG]

Thee Opinataur   7/8/2021   12-inch, International

Carlos Montoya was already one of the world’s foremost flamenco guitarists in 1958 when he stepped into a New York studio to record this album with some of the top studio jazz sidemen. It is an album of two distinctions as the name of the album ‘From St. Louis to Seville’ simply states. Side one (Jazz ) highlighted by Handy’s ‘St. Lous Blues‘ is quite remarkable, as Montoya puts his unique interpretation on a classic. However, don’t sleep on Montoya’s original ‘Improvisation’ where he truly immerses himself in the fusion of jazz and flamenco. 

Side two (Flamenco) – While the underlying foundation is traditional flamenco on these tracks featuring several of Montoya originals. What is fascinating as you listen closely is how he shares the limelight with his rhythm section, a collection of some excellent musicians steeped in jazz. Collectively they bring an element of freshness to the traditional framework. 

Carlos Montoya– guitar 

Osie Johnson– drums 

Milt Hinton– bass 

Barry Galbraith– rhythm guitar 

-Thee Opinataur

Pas Musique – ‘Psychedelic Talismans’- [Alrealon Musique]

Thee Opinataur   6/29/2021   12-inch, A Library

This electronic sound image has a very psychedelic effect and with its beats and mystical sounds, which in addition to the computer and keyboards includes electric guitar.

Tense guitar notes that emerge twisted and strangled alongside the impatient palpating beats, with an emerging sense of unease that surfaces in places. For the most part, there’s a certain mellowness that permeates the album. 

Side 1

Track 1 – Splash of Red Touch – perhaps the inspiration for the luscious red vinyl this album lives, an appropriate opening of welcoming the listener to this psyched-out journey. An uneven, sporadic beat underlies this kaleidoscopic visionary piece. 

Track 2 – Collected Fictions Brightly -An urgent Deep bass foundation, tribal and primitive, inaudible voices yearning to connect.

Track 3 –In Likeness of Me – Acid Swirl Open, playful rhythm halfway through, Field Recordings of random casual conversations to create a dreamlike sonic state

Side 2

Track 1 –ABC of the Telephone – Throbbing, delicate color illuminations. Lost at times is the listener trying to find their way on this trippy, psychedelic listen. Tribal, Convoluted, frustrating journey of sorts as it dares to alter its course to suit your comfort zone. 

Track 2 – The Hour – A warning illuminated that the end is indeed near. Irregular beats, awakening your mind and giving you a glimpse of the final moments. 

Track 3 – La Bas – with its cloudy, psychedelic guitar riffs, it captures the essence of the artist’s spirit, wonderfully dark, with a peaceful close. 

Recorded as a solo project by Robert Pepper during the Covid Lockdown, April – June 2020, released in February 2021. 

Genres = Electronic, Experimental, Psychedelic, Krautrock

Thee Opinataur

De Plata, Manitas – ‘Flamenco Guitar Vol. 2’ – [Connoisseur Society]

Thee Opinataur   6/18/2021   12-inch, International

Manitas de Plata was born in 1921 as Ricardo Baliardo in southern France to a traditional Gypsy community. His name bestowed upon him by his community means ‘Little Silver Hands’. His uncle taught him the guitar as a boy and ultimately evolving into a virtuoso. He exclusively played for his Gypsy community most of his life until he was recorded in 1963 in Arles France and his subsequent albums helped to popularize Flamenco music all over the world. He became somewhat of a cultural icon from that point, as his friends included Pablo Picasso, Salvador Dali, Charlie Chaplin, and even Brigette Bardot. 

He was French rather than Spanish, and his unpredictable improvisations depart from the formal structures of the compás, the metric conventions that enable Flamenco singers, dancers, and musicians to perform together. De Plata achieved prominence as a unique individual who made his own rules.

Several of his sons Toninio, Paco, and Diego Baillardo, as well as nephews, went on to form the Gipsy Kings in the early 1980s that continued to popularize this music for future generations. 

Manitas de Plata died in 2014 at age 93, in France, he continued to tour the world and record extensively, until his death in 2014 having never lost his gypsy ways and outlook on life, pursuing his joint passions of music and women and utterly careless of money and the trappings of wealth.

He wears his emotions on his sleeve, there is no posturing, only the authenticity in his exquisite playing. 

Track 1 – Fandangos -. Dark and introspective, raw and intimate. sweet subtle expression. It is as if he is playing just for you. Taking delight in the transference of his spirit to us the listener. 

Track 2 – Tarantas y Bulerias – combines two forms. The Bulerias originally a slow dance, considered the most festive of Flamenco dance along with Tarantas, expressing a feeling of melancholy. 

Track 3 – Gypsy Rhumba – Impromptu, an example of chico flamenco (light-hearted). An after-hours party with singing, clapping, stomping, and some percussion elements such as scraping corrugated cardboard. Singing alongside Jose Reyes and his son Manero Baillardo.

Side 2 – Moritas Moras -(Little Moorish Girls) Delves into the heart of flamenco. Jose Reyes and Manero Baillardo take turns sharing the raw unrefined Gypsy Blues. This song digs deep into the heart of the Gypsy experience. 

Thee Opinataur

Evans, Jessie -Heartwave – [Fantomette]

Thee Opinataur   6/9/2021   A Library, CD

Jessie Evans has a history in the Bay Area, where she was part of the synth goth band Subtonix in the early 2000s. After relocating to Berlin for a few years, she now calls Brazil home. Released in 2019, this is her third solo album. It’s reflective of her experience in her new life in San Paolo. Her lyrical verse is the star of this album, a deep, introspective, and heartfelt message to the world with an empathy for people around her, and authentic selflessness. 

Synth-Pop beats are the dominant platform throughout most of this album, with Machines, Cello, flute, guitar subtly mixed in. Known by many for her Sax play, she is thoughtful and particular when and where to incorporate. When she does play it, it’s understated with a soulful, sexy, and dream-like affection. Her voice is a mature, vampy, sultry, smokey experience. It can be hypnotizing to get distracted at times listening to the addictive poppy beats, but do try and separate and just listen to the extraordinary straight to your heart and soul lyrics. 

The opening track ‘Chariot’ is a shimmering potent synth-pop frenzy with a catchy chorus, but listen closely to the lyrics ‘While your cities falling, your government is balling’ is just a taste of this prayer. 

I couldn’t help but smile listening to her love song duet with her little girl Elladina in ‘Hold Onto Me’ You can feel, hear and experience her deep affection for her with every word she sings. 

The more I paid attention to her heart, the more I fell in love with her. 

Thee Opinataur

Zimpala – Almaviva – [Lacerba]

Thee Opinataur   6/9/2021   A Library, CD

Released in 2001, Almaviva was the first album from the collective out of Bordeaux, France known as Zimpala. Directing and producing this group of DJs, electronic and acoustic musical artists, and vocalists is French DJ and producer DJ BNX. Is it downbeat, house minimal, broken beat, Nu Jazz, lounge electronic? Why yes, yes it is; all of that and then some others sprinkled in. This is a pretty interesting and cool collaboration mixing in acoustic as well as electric instruments with their house tunes.  

 Things kick off with ‘To the Bass’, it takes you to the beach with a chill, bossa lounge experience to start things off. However, from there, things pick up beat-wise for a while until ‘Come Back’ cools things down. From that point on it’s an exotic mix of world fusion dance, erotic soulful vocals, and chill club music with a perfect tune, ‘New Home‘ to close this album out. All in all a nice groovy lounge trip. 

Thee Opinataur

Lake Oliver,Tchicai John, Osgood Kresten, Westergaard Jonas -Lake | Tchicai | Osgood | Westergaard – [Passing Thru Records]

Thee Opinataur   6/9/2021   CD, Jazz

Oliver Lake [Black Artists Group, World Saxophone Quartet] has collaborated with many of the jazz greats of the past 4+ decades. Recorded in 2003 in Copenhagen, Oliver Lake, Alto Sax, completed a tour of Denmark with Danish tenor saxophonist John Tchicai, drummer Kresten Osgood and bassist Jonas Westergaard. They immediately went into the studio afterward, the product of which is this release on Lake’s Passin’ Thru record label. All four artists contributed compositions to this album. Heavily steeped in swing with a vast amount of improvisation, and a bit of poetry and chanting mixed in on tracks 5 & 7 respectively.

To the ears, this recording feels like you are actually situated in a small intimate live space, not a studio, which is a great treat for the listener. Lake and Tchicai take turns leading us on several journeys throughout with timely phrasing and great energy. The youngest of this group, Kresten Osgood to me is the unsung star, his understated timing, and control to keep this quartet loose, free, and yet playing together as one is a thing of beauty. 

This album is such an engaging and pleasant experience. Its warmth will tickle that sweet spot in your body and brain and yet not let you get too comfortable as it insists on opening your mind and spirit to new places not yet experienced. 

Thee Opinataur

Arthur Doyle Plus 4 – ‘Alabama Feeling’ – [Rank and File]

Thee Opinataur   5/25/2021   12-inch, Jazz

Arthur Doyle Alabama Feeling Album

Recorded Live at the Brook, New York City, Nov 11, 1977. Reissued in 2009 on Rank & File Records out of Berlin.
While Doyle had previously supported other Free Jazz greats, such as Noah Howard (Black Ark) and Sun Ra, This is Doyle’s first album where he leads. He is credited on this album playing Tenor Voice-O-Phone, Bass Voice-O-Net whereas he not only plays but sings at the same time through his instrument. Its results are a fierce raw cerebral energy right from the beginning with ‘November 8th & 9th – I Can’t Remember When’. In fact, the whole first side is a nonstop uncompromising bastion of energy that literally blows you back and really doesn’t stop until you flip to side two. Here the two drummers Rashied Sinan and Bruce Moore blend beautifully in a dark tribal rhythmic duet on ‘Ancestor’ as one by one the other members join in the journey. Charles Stephens Trombone is all over the place throughout this album as he goes from swampy elongated pitches to short, full blasts exploding perfectly alongside Doyle. Not to be outdone, Doyle’s childhood friend from Birmingham, Richard Williams on Fender Bass is magnificent in support of keeping complex time. There is definitely confrontation all along this journey, but I believe that is purposeful, and why this recording stands out and has defied the test of time in its relevancy even today.
While the original master was lost, this reissue was captured from the original vinyl recording. It is lo-fi and has an almost field recording feel to it, and it is absolutely perfect.

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