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Grizzly Adam

Poire_z + Phil Minton – “Q” – [For4Ears]

Grizzly Adam   9/29/2011   A Library, CD

Nice rounded forms, no beeping. Pops, clicks, misery’s wailing, bass
oscillations, sighing, mushy sounds, electric hums, early morning
humming, wind walls of aspiration, conversant groggles, 1000 rpm
rotation squells, wave washes, even underwater sounds from above.
Static waterfalls. Pulse purring, and dog mimicry (all the “I’m hungry,
having fun, not feeling good, and play with me” sounds.) Faux out
of breath (must have escaped with his life,) computer power up
focusing sound, wack a mole with mole laughs. At 9 min a beat
is introduced. Jet plane engine of flares; faint to noisy. Girble giberish.
Sound sources, a whole ton of circuit bending, plus.
-eveningly infinitely wipes scrub sonny atoms grizzly adam

Kuan – “Colors” – [self release]

Grizzly Adam   9/29/2011   A Library, CD

blow your rock fuse to stress trials on time pressured pop song forms. cuddle, snuggle along but no snot. casual listeners cannot leap frog these tunes, but the hardcore might pass. the license to tour was this, their eponym ep. quickly eclipsed by further work? or will these be the overlooked gem set clincher on the sound for the time and place.
-eveningly infinitely wipes scrub sonny atoms grizzly adam

Koichi, Makigami – “Tokyo Taiga” – [Tzadik]

Grizzly Adam   9/29/2011   A Library, CD

spectacular tundra fortuna
summa semiotic silly string
jelly-string foreign “guitars”
on a costal esplanade w/
picking, various emotional
singing states drink to, toast,
hob and nob, three hearts
and eleven stars -eveningly
infinitely wipes scrub sonny
atoms grizzly adam

Qluster – “Fragen” – [Bureau B.]

Grizzly Adam   9/29/2011   12-inch, A Library

For beautiful wavy moments, segue way songs gone as quickly as they appear. Beats between extrovert and introvert, suggestive of architectural containments and movements such as dams floodways gates running gutters for the inherent flux and transitions of the beat. Natures breathing – from wind to cognition. The gusts of music mediating the experience of nature, natural yet artificial, synthesized, which applies just as much to some other music. Given over to the feel of a robbery sequence, but not the chase, it also activates a sense of meandering and humor as the sounds harken to music made for sewers and vermin in 8-bit. I prefer the 1st track on each side.
-eveningly infinitely wipes scrub sonny atoms grizzly adam

King Darves the sun splits for … the blind swimmer

Grizzly Adam   7/8/2008   A Library

short songs, stingers. apparently little dashes of dirt. know it’s new jersey. done during 0607 these sessions are a pitchy male feverish sing along. old timey americana given lounge hooks in flamingo style. in utero thumps and other simple percussion. friends perhaps backing the unnamed king. darves’s jingles jester central dead center city scummy stuff. and it’s the stuff scum would like. first person narrative tells us about a sap for the dangerous life, and youthful error. the tunes all have internal coherence as if being held together by john lee hooker brand of craftsman glue. de stijl strikes a devils deal, or a dicey bargain, with the inspired shrouded enchanter.

Lawrence “Butch” Morris – Conduction 50 – [New World Records]

Grizzly Adam   4/15/2007   CD, Jazz

Every item that is added to the kfjc library is given a sticker with a short version of the dj’s review. Here is my review as it appeared on the item.

cyclic checkered chamber music. unstable
moods for late night or early morning.
morris’s pre-composed jazz improvisations.
you’ll find locked tonality around repeating
melody, motifs. patterns tightly wound around
recurring instrumentation. piano peeps taps
and lines, up down violin movement, legato
koto, trippy guitar like syamisen, and plucky
zheng. turntablist yoshihide otomo throws a
wrench into the mix. beautiful psych chords
from michihiro sato. the most abstract mode
from morris yet. rich in shifting styles in a
saturated post classical context –Grizzly

Every review is given time during a scheduled staff meeting to be given as a presentation. Here is my review as I presented it.

yes this is symphonic. morris
is versed in the cornet, although
you wont find him playing it.
he conducts, the art of the gesture,
realigning time live. he compositionally
makes a sign touching the past.
a reversal of the jazz idiom
into a blend of japanese classical
post – classical and american classical
postclassical practices. vocals done
in a traditional puppet theatre style
gidayu, and free vocals from Tomomi
Adachi. La Monte Young is relevant
by way of instrumentation and conduction.
the instrumentation is strong and
and rich in shifting styles. you get
piano peeps taps and lines. piano
that gets loose and playful early
in track one. piano that is exploratory.
up and down electric violin movement.
violin that goes classical in the middle
of track one. violin that firmly establishes
the sound tone of the piece. drama building
tom tom like use of the ohtuzumi
a hand drum. legato and resonating
use of the koto. zheng that travels
along nearby pitches. plucky koto,
pitch bending. two basses that are
played like poppers. note turntablist
experimentalist Yoshihide Otomo,
who has done stuff with the likes of
Christian Marclay, his sound selections
throw a wrench into the mix… in a good way,
more noticeable on tracks three and four.
I am very excited by Michihiro Sato’s
masterful playing of the tugaru syamisen.
trippy note shifts and beautiful psych chords.
the concert first has an unsettling
weirdness that becomes an
emotive desperation. the audience
is treated to a seventy minute piece
in two parts and an encore
of two freedom tracks of
two and four minutes.
the group is large and pushes limits
and boundaries not as a result of
the difficultly of playing together.
morris seems to have pre-composed
lines, licks, motifs, textures
and directs their order and construction.
the group meshes them into patterns.
patterns of european and american
jazz improvisation can be heard.
collective development leads to
crecendo followed by introspection,
then solos and a transition to
tonal abstractness. the piece is
cyclic because it then returns to
a somewhere similar center.
part two does not feel as though it picks up
where part one ends although it is in the
same vein. the encore pieces tracks three
and four fit anywhere in the kfjc air sound,
and are short.

And lastly here are my notes to you the listener, made especially for our review website.

The tracks on this cd are in a reverse order of accessibility. As I was listening my enjoyment of the music was tied to what order my mind could make of what my ears were receiving. These pieces give you a great deal of pan instrument exploration. High, bang for your buck, value. A release you can return to. As I needed to, for sorting out the aural experience. The locations of the most interesting sounds, where these more interesting sounds are being put, I found to be right at the end of a phase, and there are many phases, right before the next was established and on its way. These segways are valuable for their unifying effect, and the segments are valuable for their continuation of the groove. We are interested in more fringe releases, or exemplary releases. Morris is now exploring more beat oriented sound spaces. It is valuable to have a release that definitely grooves while is tied to Morris’s former explorations. Is conduction 50 a transition piece, probably not. Morris is too prolific to have produced a definitive epoch, his advancements or more by small leaps across many releases. Therefore choosing one, choosing this release to add, can be seen as a gut call. Definitely I can say that the musicians give their all, and do not mess up the release in any readily identifiable way. We want something of his for you, and Homeing, or Conduction 70, are probably not enough to satisfy your ears. Here you get a taste of what Morris in Japan is like. Here you get some jazz convention shining through in a positive light against the post classical and japanese sound space.

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