Taboo And Exile is part 2 of Zorn’s 3-part Music Romance series, released by his Tzadik label in 1999. For those new to Zorn’s wide swath of compositions, the album functions as an introduction and a sampler of Zorn’s many musical styles: jazz (Track 10), punk (2, 5), surf (9), Jewish music (3, 6, 8), experimental (7), exotica (1, 4, 11, 12). Track 10 (“The Possessed”), a free jazz tune full of skronky, screeching, screaming sax, is the only song where Zorn plays. Musicians on various tracks include: Marc Ribot, Fred Frith & Robert Quine [guitar], Bill Laswell & Greg Cohen [bass], Joey Baron, Dave Lombardo and Cyro Baptista [percussion], the Masada String Trio [strings] and vocalists Mike Patton and Miho Hatori. No apparent FCCs on the 2 vocal tracks. From grinding, fuzzy guitars to tribal rhythmic drums to lush, sweet strings, I love almost everything about this album – except the cover. I find the cover abhorrent. YMMV. But play this album.
Beans, AKA Robert Stewart, is a New York rapper and producer who’s a founding member of Antipop Consortium. As part of Thirsty Ear’s Blue Series of jazz collaborations, Beans worked with jazz bassist William Parker and percussionist Hamid Drake on this 2006 album. Beans contributes vocals on half of the 10 tracks, and electronic samples and mixes on all of them. It is an interesting but not mind-blowing, mix of electronic, hip-hop and jazz, The electronic music is by turns spacey, glitchy & droney. Parker’s and Drake’s contributions are solid. Many of the vocal tracks (“4” & “198” FCCs) tend to stand alone as hip-hop (“20” being an exception). Even where styles merge, there isn’t a lot of mingling and it becomes all too easy to tune out after the first two tracks (“5” and “1”). Perfectly fine, but not arresting.
Since 2005, local label Tompkins Square has brought us the Imaginational Anthem series, a showcase of guitarists playing in the American primitive style (Vol. 2 reviewed here). For this 2019 compilation, the ninth in the series, singer/songwriter Ryley Walker takes a broader interpretation of the project’s original theme, and curates a lineup of artists exploring both the traditional fingerpicking and more experimental – even electric! – styles. The works collected here bring strange, fresh sounds to the series, while still keeping its spirit. Listeners may recognize the work of Kendra Amalie (featured on our most recent Live from the Devil’s Triangle Vol. 22 compilation), her guitar accompanied a full band on the bold “Boat Ride” (T5), while Dida Pelled offers a silly, sweet cover of Norma Tanega’s “Walkin’ My Cat Named Dog” (T4). I’ve already made my obsessive love for Angel Marcloid’s Fire-Toolz project pretty clear here, so I see no reason to stop now: her offering “World of Objects” (T8) shuts down the argument that a guitar can’t sound modern – this spacey, proggy jam is from another galaxy, another age. My favorite track sprouts up at the end, as Dave Miller plugs in and gets heavy on “Seedlings” (T10). Something for everyone in this “deep-fried black hole” of a mix.
Human—machine juxtaposition, taken very seriously. It’s a good use of its context, the Center for Automotive Research in Columbus, Ohio. Robots were building a race car during the recording. The building’s machinery has a compelling voice, and the recording captures this as well as its cavernous acoustics. Compositions are slow builds, with pounding percussion, to wailing guitar passages. I found the vocals hard to take in the early tracks—desperation shading into near whimpering. Over an hour and ten minutes of material is presented, and a bit of it feels like filler. Tracks 5, 6, 10, and 11 recommended. Track 12 is maybe the best, if you simply want a rock song. Track 13 is okay too. FCC on track 8 (fucking).
Wax-stackin’, needle-breaking, vinyl-jockey, DJ T-Rock from North Carolina. This is the world’s best scrath DJ on his first release from 1999 off of Bomb Hip-Hop Records, and it is one-of-a-kind. T-Rock works with a complete arsenal of sounds to create a constant, fast-flowing, sometimes hard to follow beat. Scratching that will melt your face and vocal samples that keep you under its spell. Alien invasions and killer robots. This is the real deal.
Space-filling, mind-healing sound baths. Introspective and uplifting. Suitable for headphones and cathedrals alike.
Deep room-rattling hums. Microtonal tweaks and binaural bounces. Subsonic subconscious vibrations.
Minimal pulsating drones that evolve on a human time-scale. Glacial, not geological.
Explorations in resonance and repetition, featuring synthesizers, piano, organ, bass and chimes.
Wowza! As you’re swinging to these blues, be sure to read the liner notes about how Tutu was accomplished by the age of 20, created his first guitar by nailing his uncle’s fishing line to a board when he was a tot, and grew up with father and uncles surrounding him in the blues tradition. His wife sings backup on Track 3, and there are some soulful blues tunes on here as well (e.g. Track 8). Dallas has itself one fine shining star.
This compilation will get you dancing and tapping your toes for sure. Rumba, after all, is a style of music and dance, as is flamenco, which is the style of most of these tracks. Steep yourself in a wonderful Spanish tradition of rhythm and dance. As the translated sleeve says: “To dance you need only the right music and some grace; here is the music.” Bailar!
A taste of Turkish music is in store with these compositions by Cinucen Tanrikorur, who was a lute virtuoso in addition to being an architect and composer. Gulcin Yahya studied lute (or oud) with Tanrikorur and joins her talents with those of Pinar Somakci on kanun (a dulcimer-like instrument). The strumming and plucking on these tracks are soothing, yet invigorating. Open your ears to some classical Turkish music.
Thia album by German artist Christian Fiesel is volume 1 in a series of ambient space music being released on the label of Jack Hertz, Aural Films. This series commemorates the 50th anniversary of the moon landing in 1969.
Christian Fiesel has been inspired by science fiction and space travel since he was a kid and a fan of TV shows such as ‘Space 1999’ and Star Trek. This all-electronic album, Astronauts Vol. 1, is space gloom, yet represents an expansive new freedom, curiosity and the desire to explore new worlds.
1 of 8 in a series of Arthur King Presents records, The prolific Bill Baird brings us spacey mellow psychedelic eltctro krautrock. Mostly instrumental— guitars, bass, drums, and analog synth, and a few saturated vocals drop in here and there. This is both light and dark, heavy and mellow. He was inspired by his son’s obsession with Owls. Neat-O!
Their 1969 LP + demos and a few bonus tracks from the early 1970s.
The Flirtations (Sisters Ernestine and Shirley Pearce, along with friend Vie Billups, who also performs under the moniker of Pearly Gates) began as a 4 piece with their other sister Betty and Lestine Johnson in NYC in 1960. After recording a few singles and mild success domestically, they were convinced to relocate to the UK where Northern Soul was still very popular. They hooked up with producer Wayne Bickerton and writer Tony Waddington, and released their debt full length album on Decca. They have recorded and performed ever since, working with several different labels.
Lovely full sound! Lots of clear and well-rounded vocals, plucky horns, dramatic strings, and upbeat percussion.
FAST FACT: Their big single (Track 1) was used in a KFC advertisement campaign in 2007.
Over six decades of recording, Brown touched on jazz in a variety of projects – first, as an organist with his own hard swinging group; then a couple of vocal albums, one with a cocktail trio, another with Louis Bellson’s big band. There’s also JB’s tribute to fellow King Records artist Little Willie John that fired up his jazz influences. Despite being an influential funk band ever, JB’s band also introduced trumpeter Waymon Reed, trombonist Fred Wesley and saxophonists Alfred “Pee Wee” Ellis and Maceo Parker, all of whom had enviable jazz credentials. (Parker’s rousing performance on “There” is thought to be his first recorded solo.) There are some highlights — a number of tracks are rare versions or previously unreleased — including “That’s My Desire (alt. mix)”, “After You’re Through (extended version)”, “Tengo Tango”, “Home At Last (alt. mix)”, “There (unreleased version)”, “What Do You Like (stereo single edit)”, “Go On Now (alt. mix.)”, “For Once In My Life (alt. mix)” and “Cottage for Sale (alt. mix)”. The material is from the 1960s and ’70s, and features a number of alternate mixes and singles edits, some of which have never been released.
This album really doesn’t belong in the Soul Library, even is JB is the “Godfather of Soul”. There’s more Jazz than Soul here. – Reviewed by Ann Arbor, April 8, 2009.
No one (except maybe Kevin O’Dante or the Reverend Dah) is a bigger JB fan than me, but just the same, I was prepared to hate this. Guess what? It’s not half bad. Not every tune is brilliant (they range from some smokin’ funk to some too-slick ballads) but there’s way more than enough to justify its existence, as well as some damn fine moments. Well done, JB! – Reviewed by Johnny P, September 21, 1994.
The condensed version of ‘Star Time’ – not a loser herein. Excellent remastering job (good God!). Think PE’ll sound this good 30 years hence? – Reviewed by Teddy Bloat, November 6, 1991.
This surf/tiki trio from Los Angeles is here at their spookiest, zaniest best. Great instrumentals and arrangements with all the scary touches such a howling, chimes, birds, cats, whistling wind, horses neighing, gunshots, squealing tires, growling and moans. Good fun with the horror, but good music even without it.
KFJC DJs are masters of the “superimposition,” Cy Thoth’s term for a live mix of multiple records at once. So here’s an advanced challenge:
Choose 42 records. Cue up eight at a time. For each record, using a chart inspired by the I Ching, determine whether to press play, press pause, change its playback volume, or switch it out for another record.
Follow this simple procedure, and you’ll have performed John Cage’s 1952 work Imaginary Landscape No. 5. For this 2015 release from Estuary Ltd., label founder Mark Cetilia (of Mem1, recently added to our library), commissioned fellow artists to create 42 original works to be used as source material for a new imagining of Cage’s piece, here spread over two CDs.
In contrast to the jazz records Cage used to create the original version, Cetilia’s source material is far more abstract. Overall, the tracks on CD1 have a subtler feel – icy drones (T5), ocean waves (T6), glacier caves (T15), electronic birds (T10) and insects (T14), treated piano and guitar, organ (T20), and some serious ASMR mouths sounds (T3) – while the tracks on CD2 are propelled by livelier rhythms, from dance beats to dogs’ barks to noise textures.
At the end of each CD is an instance of Imaginary Landscape No. 5. For the first, Cetilia uses the 42 tracks each pressed onto a 7″ record to create an analog version of the piece (CD1-T22). For the second, Cetilia used software to edit the original files to make a digital version (CD2-T22). Each landscape matches the material on its disc, with CD1’s analog version softened by a sea of surface noise, while CD2’s digital version cuts abruptly from one sonic idea to the next.
Lovely and somber orchestral movements from this mysterious project out of Fairhaven Massachusetts. Primarily string compositions with sparse accompaniment from timpani, cymbal, and flute (I suspect all instruments are synthesized) that evoke a lonely and perhaps haunted soul’s journey towards damnation. This release is so new and possibly cvlt that as of this writing it had only a singular presence on the internet (bandcamp) and thus prompted me to submit my first ever addition to discogs. Though nothing about this album is exceptional or ground breaking it does feel very personal and it is easy to imagine the artist pouring him/herself into this release with abandon. Slightly lacking in emotion it can feel cold and intellectual or perhaps dead inside, not unlike a sociopath trying to connect with the strange emotive world they sometimes encounter at the cemetery where they often go to reflect.
This double Bootsy-blast dates from way back in 1994, but it hasn’t aged a bit. The Boots takes all the lessons he learned from he sojourn with James Brown and Funkadelic and distills them down to two hours of solid boogie! The tracks on Disc 2 are extra-funkified version of Disc 1 tracks, without the banter. Any of the tracks will boil water but go for CD2 if you really want to blow your speakers. Reviewed by Goodwrench, January 14, 2015.
Just the usual here. Which is to say fabulous, sophisticated, funky, stripped-down, skeletal, sublime R&B. By this time (1968), the MGs were puttin’ it down like single malt scotch. Nice. Very nice. Reviewed by Johnny P., September 2, 1992.
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