Vienna-based pianist delivers a precise and poetic
release. His quartet here includes Stefan Nemeth on
synthesizer, their interplay is like a dog and a cat
that get along…somewhat surprising and all the more
enjoyable to observe because of that. Territories are
not marked strictly, and at times prepared treatment
for Oskar blurs the line where the piano stops. Much
of the work here has a crystalline beauty; precise
stops in phrases (like question marks hanging), quick
but bright clusters, and lighter than air work on the
upper 44 keys. Deep sea bass work by Achim Tang (with
some scrubbing/bowing) and percussive punctuation by
Paul Skrepek add significantly. The invisible fifth
member of the quartet is Christoph Amman, who captured
this in a gorgeous recording, don’t miss it.
Vienna-based pianist delivers a precise and poetic
Hard to separate the irony from the gold, hard to
filter the sample from the directly generated (or
should I say degenerated) sound. Perhaps that is the
split in this war? Or could it be that Drew Daniel
and M.C. Schmidt find themselves at each other’s
throats after jetsetting about as Bjork-End BoyToys?
Well if they are each others throats, it is only to
record the sound of blood in the carotid artery
(that and music made from rabbit pelt are purportedly
among the sonic inputs at work here). Listen to their
rendition of “Stars and Stripes Forever” these guys
may be too clever for their own good. But this is
the future, sampling not as a mode of deconstruction
but rather Reconstruction. And perhaps that would
have been a more fitting title to this album of
mechano-server marches and madness? Having seen
them with her Bjorkness, I hope beyond innovation
and technique, they will help lead a rallying of
performance and presentation, a point where power
electronics is often all mouse, no man.
Science Friction is Berne’s latest group, with
some familiar figures. Marc Ducret on electric
guitar is somehow able to insert notes between
the fiery charges of Berne’s alto. He’s just a
tremendous guitarist, who we should hear more
of…his use of volume washes works well with
the keys and electronics of Craig Taborn. When
Taborn is leading, this album can prick up
some prog rock ears…but this is really an
explosive jazz album, that gets the Blue Series
nod thanks to the electronics (not just Taborn,
visit “Mrs. Subliminal” to hear Tim dabbling
in delay. Tom Rainey remains Berne’s reigning
drummer king. His looseness fits well with the
dizzying work here. I actually live for the
moments when a few of the scored bars kick in.
Those sections are hairpin tight and move
quickly in unexpected directions. “Smallfry”
is unique in its ice cracking ambience. This
is all live, no safety net.
Noise pop deluxe. Tangled hair and broken guitar
strings…pull ’em out the skin and let the lady
scream/sing. That ain’t no lady, it’s Nikki Colk.
Punky and profficient. And pile on petulant as
well. Her vocals would make a snail panic. Her
voice flails, often over a raucous chorus. Those
choruses sound like chipmunks at kung fu class.
At times Colk’s lead voice has the fideliy of
a fast-food drive-up-window. Sophomore release
from these Brighton’d whites thrills with shrill.
But it delivers….rarely relaxing the pace.
“Nothin New” is kinda dainty, “Moi” is a cuckoo
clock in a cowboy hat. “3am” is the comedown,
passed out in a grandfather clock. Lyrics read
as though lifted from diaries before sobering up.
Guitar goes 90 mph the wrong way on the xpressway
to yer skull. Don’t forget to rock?
A new release going up at the same time as
his Accumulation time capsule. Bill Callahan
has the detached disdain handed down through
various undergrounds, Velvet and otherwise.
The sharpness of his lyrics, and his acerbic
stage persona always command my attention.
The songs here are less dilapidated as he’s
got a real live band behind him, and his
fondness/fiendishness with the femme fatales
has been displaced by a love of conundrums.
There’s some solid cognitive dissonance he’s
dishing out…and “Truth Serum” and “Guiding
Light” are just well crafted.
Hot on the heels of their recent stunning live performances (one at the Hemlock and one here
at KFJC), comes this new disc from the Davis Redford Triad. ‘Code Orange? is a live collage of
performances from their Spring 2002 tour. It includes material from their prvious releases, as
well as rocked-out, electric versions of material from leader Steven Wray Lobdell’s excellent solo
album, ‘Automatic Writing By The Moon?. In addition, there are three new pieces, which will
appear onthe next DRT studio album. All the tracks are instrumental psych jams, some more
Krautrock influenced, others more middle-eastern tinged, but all driven by the unique,
effects-laden, colorful sonic attack of Lobdell and his old ES335. Overall, this certainly is worth a
spin or two, but I can’t deny that it seems a little pale in comparison to the scorching brilliance of
their recent shows. More proof that Dolphy was right. DL
Anybody who has been at KFJC for, oh, more than a week or two, should already
know that Matthew Shipp is widely regarded as the finest pianist in Jazz today.
What is, perhaps, even more impressive to me than his incredible talent as a pianist,
is the fact that he continues to explore new territories, rather than resting on his
laurels. He could easily and, quite rightly, be satisfied with the adulation of his
coll and fans and withy the fact that he, unlike the majority musicians of any style, can
make a living creating music he loves. But Shipp, through both his performances and
his work as curator of Thirsty Ear’s peerless ‘Blue Series?, continues to push his limits
and expand the concept of what Jazz is and can be. This outstanding release is the
logical ‘next step? down Shipp’s personal path of sonic exploration, in that it brings
together all the aspects of his recent recordings into a seamless mix of Jazz, beats,
and electronic music. There are tracks (3) that remind you of the organic, ambient,
post-music soundscapes of the ‘New Orbit? CD. There are tracks (2 and 4) that mix
Jazz with electronics and beats, as heard on the ‘Nu Bop? CD. The remaining
material is reminiscent of his ‘Pastoral Compusure? CD, in that fairly ‘straight ahead?
Jazz tracks combine, in a less heavy handed manner, some of the elements described
above to organically morph into a more modern, new form of Jazz. This is a brilliant
album that, truly, can (and should) be played on almost every show. Don’t be afraid of
the blue dot. Enjoy!!! DL
Having been duly impressed with, ‘Piercing The Veil?, Drake’s outstanding
2001 duo release with William Parker, I was looking forward to this release
with great anticipation. As the liner notes indicate, Drake is currently one of
the most respected percussionists in the Free Jazz scene and, like Parker, his
playing impresses in seemingly every context. Tsahar, while less known, has
been a major contributor in the NYC Free Jazz scene for the last decade or so,
through his performances and his efforts as the head of Hopscotch Records
and co-founder of the awesome Vision Festival. After the useless introduction
track, there are three lenghty tracks. Two of them (the first and third tracks)
are awesome freedom chases that are reminiscent of John Coltrane’s duo
blowouts with Rashid Ali. The first of these, ‘Soul Bodies?, starts out slowly,
with Tsahar soloing, before it really takes off; whereas the latter, ‘Heart’s Mind?
is pretty scorching from beginning to end. The second track, ‘Clay Dancers?, is
an excellent Middle-Eastern flavored piece in which Drake chants in Arabic
while playing the frame drumand Tsahar adds some very tasteful bass clarinet.
Like all but the biggest names in free jazz, Noah Howard has labored in relative obscurity for many
years, despite performing with such luminaries as Albert Ayler, Archie Shepp, and Sun Ra and
having releases on such legendary labels as ESP, Freedom, and so on. On this release, Howard
leads his long-running and very tight quartet through five original compositions, including two of
his signature pieces, ‘The Blessing? and ‘Schizophrenic Blues?. Howard’s playing is crisp,
melodic, and clear: alternating intense freedom chases with passages of mournful,
Coleman-esque alto wailing. Pianist Bobby Few is also quite impressive on this date, providing an appropriate foundation in every instance for Howard’s alto flights. In fact, my only real complaint
with this release is that Few’s incredible assaults on the keyboard are often times difficult to fully
hear (and appreciate) amongst Howard and Duncan’s sonic attack; such is the nature of live to
two track recordings. Overall, a very satisfying blast of free jazz – enjoy! DL
COTI is famed producer/sound engineer on the Greek electronic
indie scene; he has 2 LPs out on of mostly ambient
electro melodics, and one more recent on that veers
toward a deep listening, gentle Moor Music / harmonious landscape.
???Crab Promenade??? is an outtake for those sessions, using a seaside
melody as backdrop, it skips along over ascetic rocks & sensual
whirlpools in an unflagging example of clean + sedate parallel melo-
harmonics/percussive electronica. Much the left-brain at the beach
to this, the left side, that is. The MUS track previously appeared on
???Little Darla Has a Treat For You V. 18???, and strolls the fashion
runway with a definite andalusian couture; subtle, stylish & serene ???
small jacket, flared skirt over layers of lace and tulle, detailed perhaps
with beaded frills and a bliss-out of pristine dimensions. Delectable,
of elaborate embroidery, as if finding a slow moment in this messy
world, ???Dexase Apagar??? is a pause of serenity in a swelter of frivolity.
Sanguine sounds from Greece and Spain.
MITCH July 2002
Improving on debut, ???Ugly But Honest???, producer Chris Walla
delivers a recording of immediate/emotional power within a
carefully balanced parameter of acoustic string instruments,
resonant lo-fi percussion and songs that are like secrets,
veiled in violin & whispered in sleeping beauteous emulsion.
CARISSA???S WEIRD founders Mat Brooke + Jean Ghetto
front this 5-piece, which also includes accordionist Jeff Hellis,
Sarah Standard on violin & drummer Ben Bridwell; having
emigrated from Tucson AZ to Seattle with dreams of wistful
contemplation (note somber tones + musical shades of grey)
and a not-to-be-outdone riffing that adds a nice low-end punch
to the material. Picks???.???Brooke Daniel???s Tiny Broken Fingers???
???I did not think those screams were for real???.??? Opening with a
woeful violin line, it arrives finally with a medical solution???.the
haunted ???The Color That Your Eyes Changed??? is a sad, blurred
waltz of elegant harmony & displacement???..???Blessed Arms That
Hold You Tight??? is Ghetto???s finest moment???.??????it???s all long good-
byes???..??? sung with such an ephemeral nondeliberation of beauty
that it becomes clear why the band scribbled out their lyrics in the
accompanying booklet???.no point in overstating the obvious.
MITCH July 2002
First release in 3 years is an on-air WBRS live recording
rom???3 years ago. Apparently under the influence of
a bong-fed Middle Eastern mood of trance throughout
this set, Boston???s CUL DE SAC contemplate a barbiturate
Buddhism in cramped quarters, extending most of these
tracks with a sort of water-from-the-moon indolence and
improv/hypno groove purely their own. Leader Glenn
Jones raises a lantern of color, texture whilst pondering
some kind of spiritual unknown washed in hues of pre-
monition so inward as to barely register as fretwork.
Heady with percussive pulse, iridescent like the night
bloom of flowers, liquid with grace and shrouded in a
dark mystery of implied electronics & obtuse trajectory.
Unerringly strange, most of these tracks are otherwise
unavailable as studio/alternate versions and add to the
canon of this unique instrumental outfit, afloat on the
most uncharted of waters. Fine form in spades.
MITCH June 2002
Mike Guarino (drums/guitar) and Jake Rodriguez (bass/
synth/vocals) have been playing together since 1995
(TOPPLE, LIVESTOCK, etc.) but it is as COMPOMICRO
DEXALL that grindcore/free jazz/punk/noise/experimental
converge in earsplitting dislocation for this free-mad duo.
Help from Jeremy Stone (synth) and Moe! Staiano (guitar)
supplements a thick, driving assault where prearranged
riffs burst with precision, flurries are predetermined and
blasts of noise occur with a megaton random & rumble.
Rodriguez (who also records as processed voice/electronics
DSP warrior THE BRAN as a solo project) has designed
sounds for Bay Area theater & was impressario for the
Clit Stop in SF; says of Guarino, ???We???ve been playing
together so long, it???s really all improv???. At times a trio in
the past (with Chris Broderick adding voice & clarinet),
CD is collage/avant/loud/chaos/meteor shower whence
pleasure is sired through pain. Sound familiar?
MITCH May 2002
Bristol septet, brash swaggery pop. Uplift mofo
horns party! And the horns are a quite sprite
French Horn (Daniel Cornfield) and Cornet (Aaron
Dewey). Sassy male/female vocals. Jenny Robinson
is the breathy, semi-sultry syllable stretcher
while Aaron Dewey is the “Speaker’s Corner” more
excitable ranter!! *Two* drummers in this…so
their sound has plenty o punch. Part of the UK’s
‘Pull the Strings’ collective. Horns kinda add
a Doc Severinsen dosed at the horse races amped
up vibe here that makes this pretty irresitable.
#11 is fancy phone freakout that tracks into the
closer. #9 is the slow dance. Right honorable
and simply smashing! -The Viceroy of Vice
Well-constructed dilapidation. Gravel in the
gullet vox of Jay Munly (from Slim Cessna’s
Auto Club). Ballads with ballast, a weight
that is lifted by a shoestring quartet (that
being Tarantella cloaked in shadow and soot).
Munly’s voice rises with an angsty twinge of
twang almost gets to a Gene Loves Jezebel
screech at odd moments. Songs of heresy and
fallen heroes, of people like Gerry Cooney
and Weegee, that Powers of Celebrity try to
pretend never supped at the popular table.
Like a barn in Faulkner story… every song
is ready to catch fire. Slow fuses throughout,
rocking chair rhythms. Has the acrid flavor
of moonshine with plenty of kick that catches
up to you long after you have imbibed the
lyrics. Perfect for that Belladonna/Joe Ed
team show! Gothic chamber country rides on….
Slap a retro-EARGASM sticker on this nugget. The
best new wave album to come down the pike in some
time. The panicky lead singer (Todd Baechle), the
sense of detachment, the air raid “subtlety” of
synthesizer, the little machine gun guitar rounds,
unabashed drum machines w/ their insistent slap
of digital ass. This supernovas on the promise of
their early (and excellent) 7″ split “Brokers,
Priests, Analysts” I am an unfair judge because
right now I’m 100% infatuated with this. “Control”
(about orchestral conductors in the dark) is a
massive masterpiece. Killer treated vox thoughout,
add some cello for the ultimate in pop. Omaha,
where infection meets confection.
Although he has been credited on only a few releases, Phil Cohran has been among the leading lights of the Chicago Jazz scene for over 40 years. Highlights of his resume include being a member of the Arkestra in the early 60’s and being one of the founders of the AACM, along with such notables as Richard Muhal Abrams, Lester Bowie, and so on. This release documents previously unissued recordings of Cohran’s Artistic Heritage Ensemble from the mid-60’s. The music sounds like what you’d expect from an associate of Sun Ra and the Art Ensemble crew: extended jams that display a heavy African/Middle Eastern influence, with lots of hand percussion, bells, and exotic, homemade instruments like the violin uke and the Frankophone (an amplified Kalimba). Highlights include the showcase for the droning violin uke, ‘Unity? and the two Frankophone showcases, ‘On The Beach? and ‘New Frankophone Blues?. Truly a great discovery. Play! DL
Note – This is an archival review. This CD was originally added to KFJC’s library in 2001. It is a long-running tradition at KFJC for DJs to add their own comments to these ‘official? reviews. As a matter of historical context and plain ol? ‘purient interest?, these comments (mis-spellings and all!) are provided below.
‘On The Beach? shreds! – Hawkeye Joe
Cohrannasaurus Wrecks!! – Thurston Hunger
Quite a story from ’63: a Nazi’s secret tape, a young chanteuse takes a chance, the Duke helps and heralds here husband’s (Dollar Brand to-be Abdullah Ibrahim) combo and we’re the happy ending when we play these refreshing trad ballads. Sathima’s voice is satiny, evoking a soulfulness beyond today’s brand of vocal cords on steroids. Makaya Ntshoko’s drums are mic’d as pure fountains of cymbals with soft, splashing snare. Svend Asmussen pops champagne violin bubbles. Ellington guests on two of his pieces, Billy Stayhorn adds a pair working the lower 44, and Ibrahim fills the rest with subtle strength. On all cuts, you can hear the space between their fingers. For a one-day session of one-takes, this is remarkably relaxed. Soothing and lucid as a clear mind in dawn’s light.
A simple sampled tramp’s prayer song unravels to reveal an amazingly rich orchestral life. Casual listening will miss the gradual momentous emotional shifts. This is actually a recreation/re-issue of the original sparked by fan and guest vocalist on the epilogue – Tom Waits. An excellent library add, excerpted overplay wouldn’t do this justic, invoke occasionally for lengthy stare-at-the-ceiling existential crises or fill an absent Public Affairs slot with this gorgeous listener epiphany generator.
-Thurston Hunger 7/13 1997
Technically black is not a color, but the absence thereof. Similarly, silence is not a sound, but its absence. And yet silence is critical to Arvo Part’s sonic palette. Aural afterimages echo as quiet caverns of drone. Dissonant tension stretches taught across gaps between notes.
Arvo Part is dynamics. Stark yet strangely serene solitude. Quiet majesty. Ethereality. “Litany” is an epic offering, English lyrics transcribed from prayer are felt rather than heard, thanks to the Hilliard Ensemble’s “volume pedal” grace. “Psalom” is a latticework of breaths on strings. “Trisagion” is the sound of a high priest walking at midnight among the dead upon a battlefield in a religious war. Faith and doubt commune. Music for epiphany.
Thurston Hunger 10/23 1996
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File