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
Just a trio, you say – but when all 3 players are multi – instrumentalists of great skill this becomes a miniature big band! All kinds of flexibility with shifting combinations of reeds, strings, percussion and piano following squirty paths and furious sheets of intertwined improv – very driving, yet very beautiful results. This is all live recording with no multi-tracking but you might think otherwise. There are a few grunty/shouting vocals with not much word action, but mostly this is instrumental. Sam River’s liner notes give the best possible description of this incredible performance – all true!
Track 3 is a bass solo – all the rest are trio form. *review by David Richoux
We got this CDR from Craig Bork (we have had “Imon Bilde” on cart for eons, he saw it listed on a KFJC playlist and sent all of what he had.) This was recorded in a mobile studio, school bus converted, backed up to a garage in San Bruno. It was recorded sometime in 1980. Although the band had been together for 10 years it was recorded towards the end of its existence, although they played together in different forms for years after that. Tim Parr passed away around 1985, Tim Lyons died a few years ago.
Very fluid, cartoony, Zappa-esq, art-jazz-rock with lots of fun tricks going on. All instrumental. *review by Studebaker Hawk
We got this CDR from Craig Bork (we have had “Imon Bilde” on cart for eons, he saw it listed on a KFJC playlist and sent all of what he had.) Knebnagauge was the previous name for Pocket Orchestra (and is pronounced Neeb-Nah-Gawgh) This was recorded in a mobile studio, school bus converted, backed up to a garage in San Bruno. It was recorded sometime before 1980. Tim Parr passed away around 1985, Tim Lyons died a few years ago.
Very fluid, cartoony, Zappa-esq, art-jazz-rock with lots of fun tricks going on. All instrumental *review by Studebaker Hawk
Pirates and Drunken Punk Irishmen are alive in the hills of Portland Oregon! This band of reclusive weirdoes have been stomping around the stranger bars and clubs in the Pacific Northwest for a few years (but there is very little known about them – even the best local Elvis impersonator stood in awe as they performed at a recent Oktoberfest). They look like a fine bunch of geeks but they sound much like the Pogues in top form. Cap’t Jack will love them dearly and I think many other DJs will hoist a glass to their rather unique take on an ancient musical art form!
Clean lyrics as far as my ear (and the lyric sheet) can tell – but the vocals are so rough sounding it would be hard to tell…
*review by Studebaker Hawk
Imagine if Tom Waits and Dame Edna somehow had a love child and he grew up to be a Contra Tenor (male soprano) singer and accordion player – well, this is what it might sound like…
Euro/Brit singer-songwriter Martyn Jaeques and two Adrians form the Tiger Lillies and they have been turning out a huge library of CDs in the last few years that have been almost totally ignored in the USA. This particular release takes us to a Circus that is more twisted and ugly than most Big Tops and Freak Shows, but there is somehow a sad respect for the mutants that run the show. There are a few obvious choices for over-the-top cover songs: Send In The Clowns, in particular but mostly these are originals. Track 3 has the only bad language, but this is very strong stuff in general – a very dark, dramatic and strange recording. *review by Studebaker Hawk
Starting at the age of 2 and a half in 1928, Sammy Davis Jr. was almost instantly an incredible Vaudeville performer, dancing, singing, comedy, acting and becoming a big part of “American Show-Biz” for 64 years. This 4 CD set spans most of his adult career (from 1949 to 1988) with outstanding quality and variety. Even if you ignore the religion, politics and “Rat-Pack” environment that came later his lifetime you will have to agree that the guy had the chops! Jazz songs, Blues, Tin-Pan Alley classics, Broadway show-stoppers, ballads and Pop – many hits and award winning stuff here (and even the less well known tracks are moving!) Disc One covers 1949 to 1960 including some of his tracks from the film version of Gershwin’s “Porgy and Bess.”
My Hot Picks for this disc: #1, #7, #8, #15, #21but give the others a try as well. *review by Studebaker Hawk
Disc Two covers 1961 to 1965 – includes some of his most successful work. His long association with Frank Sinatra and the rest of the original “Rat Pack” leads to much more film work and international fame. His versions of songs by Anthony Newley and Leslie Bricusse kept him on the top of the charts (even against the “British Invasion.”) Some of these tracks continue the jazzier feeling interpretations and some great duets. *review by Studebaker Hawk
Disc Three covers 1961 to 1978 (but mostly late 1960s) with a mixed bag of originals and adaptations: TV theme , show tunes and the infamous “The Candy Man”/”Mr. Bojangles” that have been staples of KFJC programming since I don’t know when… Not my particularly favorite era for Sammy but who can argue with success. (where is that picture of him and Nixon hugging, anyway?) *review by Studebaker Hawk
Disc Four is “live recordings” from 1959 to 1988 – includes some versions of tracks heard on Vol 1 thru 3. Sammy’s spontaneity, humor and style really come through in these recordings. Some tracks have somewhat smarmy introductions. *review by Studebaker Hawk
Starting with a spoken intro from Captain Beefheart hiz own self, this collections spans about 50 years of roots blues, odd jazz (trad, swing and flute honks-n-squirts,) pre-psychedelic poetry, raw hillbilly/Hawaiian country, novelty tunes, raunch & roll and other nifty treats that influenced the young Don Van Vliet as he developed into the Captain of Beefheart weirdness. Not arranged in any chronologic order and the extensive LINER NOTES DO NOT MATCH THE TRACK ORDER! You will find some amazing stuff here, some that were eventually covered by the Magic band. Basically clean for language but there are some suggestive old blues (Black Snake tracks #6 & #7 especially) *review by Studebaker Hawk
Some Fun, Fine, Funky, Punky, Hip-Hop Jazz from Seattle. Saxophonist Skerik (he has been on many other recordings with groups like Critters Buggin’, Frog Brigade and Galactic.) There is a lot of variety here from Horn Driven Groove-Monster to Zappaesque Aligned Noodles, but nothing is too scary – I could have almost put this in A library… all tracks are instrumental – no vocals. No idea on Skerik’s real name. Recorded Summer of 2003 live in one session at the Owl & Thistle club in Seattle.
Track 2 has an odd Latin beat – not quite sure if it is a Rumba or something else, but it is way fun. Track 4 is just a short introduction to Track 5 a mostly very happy, pop rock jazz thing – let it play through! Track 6 features a twisted analog synth-piano and B-3 Organ duet with wild guitar.
Track 9 is a Double Bari-Sax Monster Mash -YOW!
The group name comes from the 1930’s Anti-Drug Czar Harry J. Anslinger – it was the term he used for the “Rhythmic and Moral Contamination that is Jazz? *review by Studebaker Hawk
Proving the often stated case that early Jazz Musicians were nothin’ but a lot of Dope Smokin’ Vipers that would soon corrupt the moral values of our “Youth”- this is a GREAT collection of songs that relate to the drug culture of the 1920s through the 1940s. There are solos, small groups and big bands singing about Dopey Joe, Minnie the Moocher, Jerry the Junker, Texas Tea, and all that other “Fine stuff.” These are some of the songs that inspired the revival of jug bands in the 1960s and the re-revival by groups like the Asylum Street Spankers and many others. Sometimes funny but there are some sweet-sad songs as well. Remember, grass was quasi-legal up until about 1937 so these were songs that fit into the culture of the times. Just the thing for your “4:20 Break” and as far as I can tell the lyrics are all clean (if suggestive…) 1996 release date. We also have another version in Blues *review by Studebaker Hawk
East coast project combining real and synthi musicians, cut-ups and complex editing for a lot of funny stuff. There are a lot of references to modern classical composition but more silly than most.
The long production ‘A Life in a Day of A Microorganism? is a take on those 1950’s elementary school science films that soon goes horribly wrong. Even broken into 3 parts it is a bit too long (and there are a few lame ‘Gay Jokes?) but it might fit somewhere in your show. The shorter tracks are outstanding and well worth a spin. There are some ‘self-promotion? sort of announcements but not overdone… *review by Studebaker Hawk
Every Track is Different! These are recordings done over the last 10 years with various combinations of musicians. They were ‘left for dead? on the shelf because Skerik was too busy doing other things to finish them, but he finally did it. This is not at all like Skerik’s Syncopated Taint Septet – not much ‘jazz? here at all.
Track 1: just a low voice intro.
Track 2: sort of a Tower of Power/JB Horns Groove thang. Shake it!
Track 3: goofy Vocorder + Parlament-Funkadelic feel – very fine!
Track 4: vocal + sax jazzy thing that has more than a touch of Zappa.
Track 5: rapping drum (real and machine) & bass low ride – clean vocals.
Track 6: violin feature over various vibes and marimbas
Track 7: Psycho-Klez with Idiot Flesh like craziness vocals – scary stuff but fun.
Track 8: the feel of track 7 continues instrumentally into the desert…
Track 9: Goof-Rap version of this Xmas classic – not just for December!
Track 10: continues the Santa thing into Hell- lots of guitars.
Track 11: Bonus track with string orchestral effects – very minimal.
All are interesting and worth a spin!!! *review by Studebaker Hawk
Walls of Genius were not the first to use a mix of goofy instruments, samples, vocals/spoken word and noisemakers in a post-punk/new wave experimental weirdo band but they were certainly among the early ‘well known? perpetrators of this kind of quirky SubGenious music that has since become a staple of KFJC’s library. This is a CD reissue of a 1984 cassette release, part of a series of about 30 tapes made between 1982 and 1986. Little Fyodor is still touring around the country, performing for secret societies in strange little clubs. He pronounces his name as: “fee-ay-dor” ‘Spazz Music of Macho Irony? is what the Rev. Stang calls it. More at letterstodanfogelberg.50megs.com/ and littlefyodor.com MANY FUCKS on Track 10 otherwise clean *review by Studebaker Hawk
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