KFJC 89.7FM

Music Reviews

Parker, William/Joe Morris/Ham – “Eloping with the Sun ” – [Hypo Production]

Daryl Licht   1/7/2004   CD, Jazz

Three of the leading lights in the world of improvised music combine forces to create this
very unique release. Performing respectively on the sintir (a Morroccan bass lute usually
associated with Gnawa music), banjo and banjouke (a ukelele hybrid), and frame drum,
these remarkable musicians create a sound that is both reminiscent of traditional
instrumental Middle Eastern and African folk music and seemingly totally new at the same time. On each of the five tracks, Parker and Drake lay down a rhythmic groove while Morris freestyles over them like Earl Scruggs on crack. Innovative and hypnotic – play! DL

Bernard Parmegiani “a memoire des sons” [INA/GRM]

Thurston Hunger   12/17/2003   A Library, CD, Format

Another French pioneer in the realms of musique concrete
with Pierre’s Henri and Schaeffer. Parmegiani has worked
in TV/films as well, and the sounds here, whether from
his select memory…or aiming to trigger memories in
each listener…do seem to be more visual than some
other’s work. He’s got nice texture in these three long
tracks, constructed over a much longer time: 1967,
1987 and 2001. Despite those 34 years, standing aside
each other there is a flow (unlike say sci-fi movies
across a similar chronochasm). The first has more of
the explosive cut style (maybe from more primitive tape
handling). The second works loops more often, and has
voices and thus on a simple level, a more human feel
as well as time ticking in clocks and water drops. The
third and title cut is the most cinematic, including
soaring strings to underscore emotion. Add chimes
and crackling bramble, digeridoo and fanciful computer
flybys. Serve in slices, or complete.

Califone – “Heron King Blues ” – [Thrill Jockey Records]

mitch   12/16/2003   12-inch, A Library

Hot on the heels of 2003???s ???Quicksand / Cradlesnakes??? comes this concept LP
of recurring dream and Druid legend. A half-man, half-bird figure of legend
haunts these sprawling mirages of ancient battle and laconic, ethereal interim;
squalls of darkness patch themselves between melodic loam and numerological
tension alongside the mercy and revenge of elephant-horns, muted drums,
pump organ, slide guitar, treated piano, violin, fretless banjo and omnipresent
electronic looping. The vision belongs to vocalist Tim Rutili, along with bandmates
Ben Massarella (percussion), Jim Becker (guitars, keyboards) and Joe Adamik
(reeds, horns) and is brought to realization with producer Michael Krassner &
the usual Chicago all-star sessioneers : Wil Hendricks (bass), Fred Lonberg Holm
(cello), et. al. A product of extemporaneous creation in the studio and the
spectre of metaphysics outside of it, Rutili is a long long way from RED RED MEAT
days ??? though the riverbeds still swirl with enigma, it is the topography of semi-
coma that now presupposes symbolism, moving CALIFONE toward a more
compelling interpretation of an ancient future.
MITCH December 2003

Trio S s/t [Zitherine]

Thurston Hunger   12/10/2003   CD, Format, Jazz

To say this is a trio of three Robert Horry’s probably
doesn’t mean much, so I shouldn’t start the review that
way. That might mislead, like “Majorca” the leadoff cut
on this eponymous Trio S release. “Majorca” bristles w/
a Tony Conrad/Amps for Christ power, that evaporates for
the remainder of the album. It’s not bad, it’s just that
it’s like a body with a different head. The rest of the
album laps at your ears…soft raindrops on shallow pools
of sound…well the “Russian” Anthony’s River is a 20
second exception. Read Wieselman’s notes on all-natural
perceived melodies…and relax to the flow of this album.
Me, I’ll be pacing next door hoping that Trio S’ next
effort features pursued inorganic melodies…built with
more air and fire, and covered in loamier foam.

Malachi Thompson and Africa Brass “Blue Jazz” [Delmark]

Thurston Hunger   12/3/2003   CD, Format, Jazz

Malachi Thompson is 30 years down the AACM/Chicago
railroad tracks. This album kicks off with an “And the
Grammy goes to…” solid but glossy vibe. But along
comes “Genesis/Rebirth” the closer to Thompson’s Black
Metropolis Suite. The sweet toe-tappin’ evaporates,
and a heart-stoppin’ composition rises like a new sun
in an old sky. Slight flamenco flares arc off Harrison
Bankhead’s bass; the Africa Brass octet which earlier
were turning on dimes, polishing the bop now construct
a slow monolith for Steve Berry to ponder over…until
there’s these crazy feudal/futuristic fanfare. Then
saxist Ari Brown gets a chance to wail on this triumph
of a track. That heaviness keeps a rolling into the
thick bluesy Louis Armstrong triptych tribute. Dee
Alexander starts that on the dark side of the moan,
it then jumps a train and ends as a playful talking
blues against Berry and Brown, now on clarinet. Read
the booklet’s understory arguing against divisions of
blues versus jazz in words, the best argument is the
music… Ends up in fun at the “Mudhole.”

Yoshimi & Yuka “Flower with No Color” [Ipecac]

Thurston Hunger   10/29/2003   A Library, CD, Format

Avant-exotica? Much in the vein of Yoshimi’s
earlier picture disk. The other reason “Y”
is Yuka Honda of Cibo Matto, who adds a lot
of tinkling key work. Yoshimi also brings
the trumpet more to the front at times,
it has appeared a little bit in her OOIOO
project. Nuns on mescaline singing/keening
in parts…and lot’s o’ fauna doing backup
vox (birds, dogs and insects). As legend,
or perhaps just marketing, has it…this
CD was created at a temple atop Mt. Ikoma
after hiking all of the instruments up
there. (So I guess that’s an electric
piano on much of the album ;>) I prefer
the tracks where the “bamboo” percussion
makes an early entrance. En trance in
trance tranq quill trance end.

Aichinger, Oskar “Synapsis” [Between-the-Lines]

Thurston Hunger   10/27/2003   A Library, CD, Format

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.

Matmos “The Civil War” [Matador]

Thurston Hunger   10/21/2003   A Library, CD, Format

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.

Berne, Tim and Science Friction “the sublime and.” [Thirsty Ear]

Thurston Hunger   10/9/2003   CD, Format, Jazz

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.

Kaito – “Band Red” – [Spinart]

Thurston Hunger   8/6/2003   A Library, CD

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?

-Thurston Hunger

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