David S Ware Quartet – Oblations and Blessings (Silkheart)
No bowties here, this is the HARD stuff ! Jazz in attack mode elegance and ballad ballistics. Ware catches the TRANE out of town and out of the stratosphere, blasting the quartet’s way to new truths communicable only in phrases of music. The musical messages within have concise urgency like a war zone reporter on a 1m call to the main bureau. This is Ware in ’95 backed by Shipp, Parker and Dickey – a classic quartet of ts-pn-bs-dr whose heritage is of pure late Impulse era Coltrane Quartet stuff. Undeniable momentum forward, upward and OUT, leveraged by Shipp’s McCoy Tyner/ John Hicks style of comping.
3w: Coltrane Resurrection Revelation !
David S Ware Quartet – Oblations and Blessings (Silkheart)
This is one of the most memorable releases I’ve heard in awhile. Corrina Repp (her parents named her after a Bob Dylan song) is from Portland, Oregon and has been playing music in various bands for 10 years. This was released in fall 2004. In style it’s similar to Cat Power, with its spare instrumentation and lovely female vocals. Very subtle piano, guitar, and slight electronic moments. This is mystical! (added 2-8-2005)
From 2000. Treatises on love that blend elements of classical, jazz and poetry. It begins with male vocals and classical piano (track one), moves to dramatic strings and piano (track two) to spoken word and operatic (track three) to crazy drama with male throaty vocals that can rival the best metal performer (track four) to jazz-inspired with scat singing (track seven), along with some instrumental tracks glueing it all together. (added 2-8-05)
This is another release (pulled together in November 2004) from Sublime Frequencies that collects musical gems from around the world. Sumatra’s been in the news lately in the weeks following the December 2004 tsunami, so it’s nice to harken back to some less tragic times and hear Sumatran folk and pop music circa 1960s through the 1980s. It’s quite a range, from Indian-style pop to more sedate folk with simpler percussion. Strings, psych, crazy pop, and some nice female vocals. Track 11 is a pleasant folk song with male and female vocals. (added 2-8-2005)
Sad World is two people: Dr. Atmo – real name Amir Abadi – a DJ/composer/architect and Ramin – full name Ramin Naghachian – both born in Iran and currently living in Frankfurt, Germany. (Fun fact: Dr. Atmo performed at and designed Frankfurt’s XS club.)
This 1996 release combines the first two Sad World CDs, orginially released in 8/1993 and 5/1994. We also have the third and last, Sad World III, in A. All three are on Pete Namlook‘s FAX label, one of the leading purveyors of ambient music.
Sad World is ambient electronica with a strong Middle Eastern influence. The track names evoke a time of greater glory for Muslims with great halls like Apadana, cities like Samarra, which was briefly the capitol of the Muslim world, and Cordoba, the center of Moorish culture in Spain.
The music on these CDs contains some relatively brief tracks of 5 and 10 minutes and one longer tracks of 20, 30, and 40 minutes. They contain synthesizer drones, interesting samples (voices from American broadcasts, choirs, talking, chanting, singing children), instruments like sitar and, I think, a didgeridoo, sometimes there are downtempo drum loops giving the hint of rhythm.
You can actively listen to these tracks and trace their slow development and changing textures, or you can just float along with it and enjoy the ride.
It may well be that Goofus and Gallant are the same
person. It also may well be that the P. Boys are a
brother/sister combo Oliver & Angela Alden, along with
their childhood friend Dean Douglas. It may be that
this started as a lark, and still continues as one.
A goofball gumball assortment of pop drops, and to
“clear” the palate arcane swipes from out-of-print
kiddie vinyl. In the lyrics, on top of plenty of
square phrases rhmyed into round holes, we get nods to
Tzadik, Black is the Color of My True Love’s Hair
(not Sharrocked, nor Waters’d down…but tinted blonde
or yellow if you will). If the Frogs and Danielson
Famile adopted Vincent Gallo, would Brown Bunny have
had “Brown Underpants” as its theme song? It’s like
they have created song-poems direct and eliminated the
middle matchbook man. Or maybe they’re college DJ’s,
big kids in the treehouse like us?
Featured clarinetist Perry Robinson has played with the
Fugs, Pete Seeger as well as various jazz luminaries
like Archie Shepp, Charlie Haden, Don Cherry. For me,
the clarinet is the neediest of reeds; too often it has
a thin timber and a sort of whininess. Over the course
of these two discs, we get a broader display. On the
studio disk we embark in a toe-tapper riding a slinky,
spiraling melody. “Blue Flower” starts blown-out but
gentle, like writing a poem with a hangover. Over time
its scratchiness goes smooth. Ultimately we get more
flurrious and wobbly playing on “Fence in the Snow.”
It’s a crazy beauty that starts w/ xylophonic tinkery
and includes Parker dervishing on one of his found
foreign reeds himself. That winds up with some weird
aquatic vocals. Aces! The second live Tonic disc finds
Parker as ebullient as ever. The improvising is wide
open, and people can come in on many wavelengths
from Dixieland, to Bop, to vague Klezmer marches to
other regions of imagination.
Re-release of this Baltimore bands first two ep’s. Provides
both the scratch and the itch for rabid rock-pop. Dual guitar
interplay does a nice job of creating songs that sort of
climb up on top of each other. Keyboards are used as very
minimal highlights (to good effect, not distracting from the
solid, simple guitar). Roman Kuebler’s vocals have a sweet
angsty rasp to them (#1 and #5-Graham Parker anyone?). That
familiar sort of controlled yell, directed rage. There’s a
prozacky ballad #12, but this band is best when it’s got a
frantic woodpecker energy going and Strato-rattling guitars.
Music to inject vodka into, hope they opt for that rather
Originally released on Map City Records in 1970, this is a 2004 re-release from Radioactive Records, an interesting label that specializes in reissuing innovative but rare music from the 60s and 70s.
Purple Image is from Cleveland, Ohio, and this album containing five tracks is the only one that they released. That’s a damn shame, too.
It kicks off with Livin’ In The Ghetto, a blistering amalgam of rock, soul, and funk that sets the tone for most of the rest of the album. There is also some slower, more R&B-style music in the middle with vocal harmonies reminiscent of The Persuasions. It ends with a 15 minute extended rock funk jam featuring flanged drums, space guitar, wah-wah guitar, face-melting guitar, and even a harmonica. Bass is mixed high throughout, which pleases me.
The lyrics are upbeat and positive as you might expect in songs with titles like We Got To Pull Together. Female and male vocals with the male vocals sometimes trading off a la The Temptations. Influences: Sly & The Family Stone, Jimi Hendrix, Parliament, and the bands mentioned above.
Trembling before beauty music; exudes grace, though shatters
nothing. Minimal steps in other’s footsteps, melodies climb
up a step, down a step, up a step. Tilda Swinton who has
collaborated with the departed Derek Jarman adds spoken
texts, but to my ears she was too often lost in the gauze,
there but not there. Is she Orlando, or just Tiresias?
Typewriter for effect with the words too. For the fattest
FatCat vibes, try #4 or #7, still that’s pretty svelte
for beat worshippers. If you dig “Shadown Journal” check
out some of Simon Fisher Turner’s stuff. There’s also
wounded piano thoughout, the ankle twisted and lingering
on the sustain pedal. My secret favorites were the two
organ numbers, great pools of sound with ripples of
Terry Riley…#5 and #9. If I lied and said this guy
was the big brother to the twin sisters of Mum would
you like him more? Like Mum, Richter can summon moments
of deafening quiet.
This album poses a lot of questions. What would you do with
your life if you survived a three-story fall through a plate
glass window? And what if the stories were taller tales than
that? Where did the “Five Seconds of Marmots” go exactly?
Who is this “Lester Vat” (aka Anthony Riddell). His bellicose
bellowing is certainly what lingers in your ears. Still the
sonic crumpling, oscillating, and burstling that surrounds
these thought and tone poems is vital. Like there is something
really important going on in the next door apartment, and
they’ve got the radio sliding around the dial, and the TV is
on a polynesian soap opera… And what is that guy saying,
exactly? Evidently Riddell is born with a speech impediment
that he has turned into a speech instrument…stretching and
repeating words, he alternatively seems to be both delighted
and disturbed by the difficulty in communicating. And maybe
not just his, but everyone’s. The lyrics often do focus on
this phenomenon. Tracks are revived from original cassette
tapes, and at times, it sounds like the oxide itself is being
chewed and gargled and choked on. Outstanding early 90’s
Australian art-damaged, body-damaged experimusing.
The intersection of the lines of madness and lines of genius
may not be one point, but two coincident lines. Timeline here
is 1972, behold the third release from Montreal’s ensemble
L’Infonie. Apparently this galaxy of musicians revolved round
a twin-star center of Walter Boudreau and Raoul Duguay, each
respectively contributing it would seem order and disorder.
The first disc can be sliced at different points to produce
Sun Ra keyboard spirals, bluesy swagger, halleluiah chori,
sputtering gibberish, pure prog rock, freeform jazz. Several
themes recur, I love the way it gathers itself: horns shoot
up out of sprawling piano, drum swatches and an anxious bass.
I think the bass really holds a lot of this together, often
it leads the themes. The second disk starts off with back to
Bach numbers. Then in the midst of the “Prelude,” a garagey
number with flute and outta tune vox sneaks in, then things
get mighty howly and big bopping. “Ubiquital” has a knocked
round glockenspiel feel with zithery strings in that modern
classical tension-for-tension’s sake. “La tonne platte”
starts with sideways jazz, gives way to what sounds like a
Butoh race through the audience which returns on an awkrward
cut back to the sideways jazz. Vive le strange.
Delivered to us by labelmates Black Forest/Black Sea,
this Baltimoric coven including Oxes’ Nat Fowler and
Chris Freeland. They sacrifice somber minor-key mantras.
Cello drifts thru like incense, and ye’ ol’ singing saw
is summoned upon occasion as well. Despondent without
being desperate. Lyrics flicker in the shadows of
fallen gods and lapsed rockers. Have faith, but do a
Between the lines of composition lies room for fantastic
improvisation. Lindberg’s quartet this time is in a mostly
mellow mood. Even the more fiery moments have a tranquility
to them. Witness the hopping cookers that match melodies
and start/close the album, each spiked with Susie Ibarra’s
quick crash Chinese gongs and seesaw seasoned by Lindberg’s
bowed bass. Also check the kooky kinetics of “Generations”
rattled by Ibarra and slapped by Lindberg to get it rolling.
Now that’s marching to a *difficult* drummer, twice it stops
to let Baikida Carrol chase a hummingbird. Steve Gorn is
here with a variety of winds, elegantly on “Implications”
which is all him halfway till a timpani roll and then a
kinda disharmonious join by Carrol. Weird. That and the
Gottschalk-inspired “Great Spirit…” missed me, but all
else here is meticulously mapped. I really dig Lindberg’s
composition, and Carrol does spend a lot of time with
the mute en tote. That gives the trumpet a little more
grimace to its glide. Ibarra is always a treat, her
kulingtang on “Beau Theme” is heavy on the kul, light
on the tang. “Yatan-Na” is part paean to a pagoda but
then its got this crime jazz alley at the center. Gorn’s
bansuri is strong on both cases. Another outstanding
outing on this label run by Franz Koglmann.
I love how this album begins, like a nighttime strafing of an
army of flying saucers. After that we get a good headphonic
mix of stark darkbeat. Shek evidently is a Russian, and this
is his sonic snapshot of a trip from Moscow to St. Petersberg.
From the sounds of it, he travelled during winter, strapped
naked to the top of a train. Gulag rave? Certainly has plenty
of danceable moments, as the steel wheels find a rhythm on
the rails. I prefer the more ambient textures of coal smoke
that blow through now and then. Some processed vox (as if
lifted from a station’s loudspeaker or a police bullhorn) are
mixed into the murk and add to the mystery. Good rubbery
tone in part and lots of friction percussion also help
this to stand out.
Liquid strings and bowed drums, these are the dreams
this trio spins. For me the album found its voice when
Kowald used his (Tuvan style on #5). After that point,
I was hooked…(well aside from grunting byproducts
on other tracks) The first two tracks have a muscular
maelstrom approach…if you want something with all
three off to the races. On the third Masaoka’s koto is
flinging shadows over Kowald careening between two
bowed notes. Track four has Robair’s drums upfront and
ominous and the koto keeping closer to its nature.
Then that vocal breather (Kowald has sung this way
before and worked with Sainkho Namchylat so he may
have picked up a tonsil trick or two.) After that it
was all gold to me, Masaoka sounding more harp-like
on #8 (like on her Monk tribute), Kowald slaps fat
rattling lines on #10, it’s hard to see but track 11
might be Robair bowing styrofoam, and track 12 maybe
he’s got the e-bow on the snare? He’s inventive so
it could be a brand new maneuver… This is also on
his label (glad to see its still going). Applaud the
discrete efforts, as much fevered inspiration as in
a 60 minute single session but with more scope and
better prospects to hop into a KFJC playlist.
FWIW, we’ve never met but I’ve always heard Guy’s name
pronounced clue-SEHV-ick. Including by his understudy
Miss Murgatroid! Klucevsek’s accordion is not as
crazy here as her free-based version, or even some of
Guy’s earlier work. Johnston’s alto/soprano sax seems
to pull higher, clearer, cleaner tiny notes out of the
bellows. This is feathery, but with melodies that are
just gorgeous. The Satie tribute (#7) is a start for
that. As is “The Gift” (#4), the slipperiness of “The
Needless Kiss” (#14), gypsy twists in “No More Mr.
Nice Guy” (#9 but sadly *not* an Alice Cooper cover,
would not have surprised me if Klucevsek had done so).
Instead that has a nice Balkan bounce to it. This album
does not rely on shock and gimmicks. The interplay of
Klucevsek’s right hand parrying with Johnston, while he
pumps the accompaniment is no mean feat. Tastes like
European jazz in parts, rising notes, hyperclean sound.
Yet circus flavors waft too.
Three piece from Leeds, heavy with middle names, but lean
with lancing guitar rock. James Richard Islip fights the
drums, roundhouse cymbal crashing and below-the-belt toms.
Lurching along with punch-drunk guitar staggers from Giles
Edmund Joseph Bailey, those drums get KY’s dukes up like
early Don Caballero. Meanwhile bassist Andrew Derek Ross
Abbott is impervious to any of this, steadfast and stolid
he keeps each song on its legs. Thick unflappable songs
that have no problem supporting a ragged, jarring guitar.
Each cut leaves a similar metallic taste in your mouth,
this gang of three seems to have plenty of bite. 80’s
scrape with those always-welcome angry Anglonized vocals
from Bailey. Remember sneering started in Britain. Meat
and potatoes, cooked over an open fire on barbed wire.
Singles collection from Kazumoto Endo released in 1999.
I know KFJC’s own Nancy Reagan proclaims noise will be
at the top of the pop charts in 100 years…but why
wait? This is an album that is bursting with sound,
from the first track that has a throbbing pulse under
the metallic screech of train wheels grinding sparks
out on tracks. A lot of the noise on this has that
almost Godzilla like quality of shearing metal, and
lest you think noise is just random sound, try to
create such gorgeous tortured structures yourself.
In noise, I’m a big fan of the chasm…the space
between the sputtering…and Endo uses that well on
this. Sometimes slipping some J-pop or disco ditty
into those spaces, as if to contrast their week
meekness with his arcing cathodes of sound. Those
moments also hint of digital hardcore, but make no
mistake, this is noise at its most extreme, most
powerful and most glorious. Each time I’ve listened
to this I am struck by the diversity of the din that
Grant Kalaparush his new name, Maurice McIntyre
must seem like another man, a lifetime ago.
In his lengthy absences, one assumes lesser
musicians would have vaporized into myth. But
this CD proves he’s very much alive, indeed
these are all live recordings. Thus fidelity
is okay, but the fluidity is assured. Even
at his speedier cycles, Kalaparush has an
unshakeable lyricism. Thus as he near 70 years
of age, his playing here is fresh, driving. He
is rarely resting now once he’s going, this
makes a nice workout for young tuba player,
Jesse Dulman. Dulman huffs and puffs, and
gets whoops of encouragement from Kalaparush
at times. This release seems to ride on
Dulman’s back…when he’s on the album
succeeds (check the end of #5) but when he
gets soggy, it slogs.
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