KFJC 89.7FM

Music Reviews

Spence, Joseph – “Encore: Unheard Recordings of Bahamian Guitar and Singing” – [Smithsonian Folkways]

aarbor   5/18/2022   12-inch, International

Joseph Spence, who died in 1984, was a Bahamian guitarist and singer. He is well known for his vocalizations and humming while playing the guitar. A number of musicians, including Taj Mahal, the Grateful Dead, Ry Cooder, and Olu Dara,were influenced by and have recorded variations of his arrangements of gospel and Bahamian songs. Spence played calypso, blues, folk music and sacred songs. He played a steel-string acoustic guitar. Nearly all of his recorded songs have a guitar accompaniment in a drop D tuning. You’ll hear his magnificent voice (singing and kind of scat singing) moving bass lines, interior voices and a driving beat that he emphasized with foot tapping. He adds blues coloration and calypso rhythms to achieve a unique and easily identifiable sound. This album from 2021 is the latest recording to be released of his work, making a total of 4 released after his death. His sister Edith Pinder and her family also sing on some of the songs here. The recordings are from 1965 (the peak of his career) his only New York concert, at his cottage in Nassau, Bahamas, and at Peter Siegel’s (producer/recording engineer) apartment in Manhattan. AArbor

Karloff, Boris – “Reading Rudyard Kipling’s Just So Stories and Other Tales” – [Caedmon]

aarbor   5/18/2022   12-inch, A Library

Boris Karloff (whose real name was William Henry Pratt b. 1887), best known for his portrayal of Frankenstein’s monster in the various early Frankenstein movies. Here he is the kindly British story reader of Rudyard Kipling’s well-known JUST SO STORIES. The Kipling stories here are How the Whale Got His Throat, How the Camel Got His Hump and How the Rhinoceros Got His Skin. The B side is an abridged version of Mowgli’s Brothers from THE JUNGLE BOOK. AArbor

Sumrra – “7 Visions” – [Clermont Music]

Cousin Mary   5/15/2022   12-inch, Jazz

This fine piano trio from Santiago de Campostela in Spain looks at stellar time from different viewpoints in this album. Very accessible but unusual. The piano lead sometimes seems more in line with classical etudes than jazz riffs. I was curious about the language on the cover, it appears to be Galician rather than Spanish or Portuguese. Manuel Gutierrez on piano, Xacobe Martinez Antelo on double bass, Lar Legido on drums.

Sun Ra & His Intergalactic Infinity Arkestra – “Night of The Purple Moon, The” – [Saturn Research]

Cousin Mary   5/15/2022   12-inch, Jazz

1970 recording where the Arkestra is down to no more than 4 members, with some solo keyboard pieces. The first track on each side is a bit more accessible than most Sun Ra, while the remaining tracks soon launch into outer space. Sun Ra plays the Moog synth and also the Rocksichord electric harpsichord. Just when I thought the KFJC library did not need another Sun Ra album, this comes along to prove me wrong. With John Gilmore, Danny Davis and Stafford James.

Stowell, John / Glenn, Dave and the Hawcaptak Quartet – “Violin Memory” – [Origin Records]

aarbor   5/11/2022   CD, Jazz

John Stowell is a guitar player and Dave Glenn a trombone player. They have played together in various settings including as a duo – an interesting pairing. This recording has 21 tracks, most of which are pairs: An Intro played by the Hawcaptak Quartet and the paired track played by Stowell and Glenn. John Stowell wrote most of the pieces and Dave Glenn arranged most of the string quartet versions. I hear the string quartet Intros as the Yin (melodious and feminine) to the Stowell/Glenn duo’s Yang (trombone grounded and masculine). AArbor

Fila Brazillia – “Black Market Gardening” – [Pork Recordings]

aarbor   5/11/2022   A Library, CD

Fila Brazillia is the duo of Dave “Man” Mc Sherry and Steve Cobby based in Kingston Upon Hull, Yorkshire, UK who started recording together in 1990. This album is from 1996 and is among their earliest recordings on the Pork label (also based in Hull). They later started their own label called Twentythree Records. This is classic downtempo from the mid 1990’s. “Snake Ranger”[2] is wavering synths and a chorus of flutes, “Little Dipper”[3] starts off with an old-time piano sample before shifting into something more funky. “Wigs, Bifocals and Nurishment”[6] heads into disco territory. “Xique-Xique”[7] is smooth and sweet. AArbor

Barrio Manouche – “Aires de Cambio” – [doubleOone]

aarbor   5/11/2022   CD, International

Barrio Manouche is a very international acoustic ensemble from San Francisco. They play music inspired by the places they come from and have lived: Spain, France, Brazil, French Canada and the U.S. Their music is also inspired by those who have come before and their nomadic spirits. They use music to describe the world as they see it. Of note here is “musical guest” Mallar Bhattacharya (sarod) and Hilan Chaudhuri (tabla) who join them on the title track [5]. This is their first recording from 2018. Barrio Manouche has been recognized for its surprise concerts, innovative style, complex technique, and its passion for musical improvisation. Their intercultural musical fusions start with Latin/French Jazz and then add in Brazilian beats, a bit of Flamenco and even Indian music. AArbor

Toned – “Toned” – [Self Released]

Max Level   5/9/2022   CD, Jazz

An electroacoustic dream with nightmare attached. Make sure you are firmly strapped in for this one. East bay trio Toned slices and dices everything within reach, mixing and matching the sounds of outside jazz, noise, spoken word, loud ambient tone layers, crazy crashing percussion, electronic blurts, etc etc etc—-basically more things than I can name—into a hyperactive, blinding, deafening, audio assault that defies description. Sometimes sounds like unrelated tracks of noisy playing piled on top of each other, which wouldn’t necessarily be a bad way to do things. Track 10 bursts out of the speakers like some unholy rampaging monster come to life.

Bischoff, John – “Bitplicity” – [Artifact Recordings]

Max Level   5/9/2022   A Library, CD

Electronic composer Bischoff has a sound and approach all his own: It’s all about events—-‘sound’ events disrupting the silence, and ‘silence’ events disrupting the sounds. Random and non-random events occurring. There is often quite a bit of negative space in his compositions, as the performer and his gear decide in real time what moves to make next. Much interaction between man and machine takes place during live performance. Whenever I listen to Bischoff’s work, which I have spent a great deal of time doing over the past 20 years, the feeling I get is controlled unpredictability. This excellent CD contains performances recorded at Mills College in 2020-21, live with no overdubs.

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