While I was aware of the individual members of this group, (Dave Remis, Fred Lonberg-Holm, and Paal Nilssen-Love,) I didn’t know, until I read about a recent East Coast Tour, that they had a group together. Saxophones, cello, percussion, and electronics.
This is improvised music of the squonk-ey, squeal-ey, and occasionally tender sort. Quite pleasant and invigorating. I was more than a little sad that my commute ended before the album did, but am looking forward to the listening to the remainder on my trip home.
The Necks are an Australian trio, generally Keyboards, Percussion, and Bass, whose performances and albums are based on ideas of Improvisation. That is, whatever happens at a performance is not planned in advance, it is just what happens. Their technique is more based around the idioms of pop and classical, rather than “Jazz” or “Free Jazz”. If, indeed, they do have precursors in the Jazz world, it is player/composers like Bill Evans and Chick Corea.
A while ago, I went through an impulsive phase, based on information from wire magazine, where I bought pretty much every early The Necks album, and listened through them.
After thus fortifying myself, I came to the conclusion that, while I can appreciate The Necks for their technique and aesthetic, I don’t find them particularly interesting.
I thought I should revisit these conclusions after reading Geoff Dyer’s piece on the band in last Sunday’s New York Times Magazine, in which he alleges that they are, “The Greatest Trio on Earth”. Nope, as much as I can appreciate them intellectually, their music still doesn’t do much for me.
The poetry is written and performed by Camae Ayewa, who also goes by the name Moor Mother.
Similar messages to her work on Fetish Bones but a different context. Somehow I find it easier to listen to these messages in the context of jazz improvisation than in the context of experimental electronic music.
A fine group of young men, playing freely and creatively.
Trombone, Saxophone, Percussion, and Double Bass.
Thinking about what language to use and differentiate this from yesterday’s DEK Trio album, other than just different instruments and different people.
Or, maybe that is enough?
Well, they both seem to be mostly improvised music and both are live albums. Red October is a larger group, (and particularly impressively recorded for being recorded live). Burning Below Zero has a piano, but no bass and a single wind instrument, giving it a different feel. Polyorchard’s album contains fewer allusions to popular music. Both have very impressive players. Both are great albums.
Will need to work on this idea of differentiating modern improvised musics. On the “to-do list”.
Burning Below Zero by Elizabeth Harnik / Didi Kern / Ken Vandermark aka DEK Trio.
Wonderfully diverse playing both in terms of technique and content. Everything from Free Squonk to Classical to African Pentatonics shows up as you pass by. Just waiting for you to dip in and and sample. A cornucopia of thoughts and feelings, bursting at the seams.
I’ve enjoyed Ben Frost’s albums in the past, so I was intrigued when I heard he was working with Steve Albini on this new one. Albini is known as something of an iconoclast and a fancier of obscure analog recording equipment, so I was curious what would happen when someone as tied to digital sound technology as Ben Frost would collide with Albini’s world view.
My initial reaction was that the album sounded a bit retro, reminding me of some of Tangerine Dream or John Carpenter’s soundtrack work from the 70s. Something about the keyboard washes.
However, digging deeper, I started to hear more interesting sounds. Sonar Pings, Heartbeats, etc.
So, I’m a little on the fence. I do like “Entropy in Blue” quite a lot.
The title refers to William Butler Yeats most famous, and most quoted, apocalyptic poem, “The Second Coming”. The titles of the songs themselves are quite topical. “A Single Hellfire Missile Costs $100,000” and “Healthcare” are actual song titles.
In any case, Yeats’ words “…what rough beast, its hour come round at last, Slouches towards Bethlehem”, are, unfortunately, sounding far too prophetic.
The primary instruments here are bowed stringed instruments, (including electric guitar,) accordion, and occasional trumpet. And, well, tape delay. Actually, it could be argued that tape delay is the primary instrument.
It is, sort of, heavy folk music.
In any case, I really enjoy this album. It is drone-ey and meditative, yet sonically varied enough that it remains interesting through its whole length and after repeated listenings.
Wow. I was familiar with Mr Mitchell from his work with Tim Berne and others, but did not expect this! Crazy ambitious compositions. I guess I’d almost call it “Stravinsky meets Monk in the 21st Century”. Intellectual and driving, yet it swings.
Really cool! And also pretty hilarious song titles like, “bulb terminus”, “squalid ink”, and “gluts”. Though, my favorite track is, “mini alternate”.
I have a problem, OK, well, maybe two problems, with Dead Rider.
My first problem is that the vocalist, Todd Rittmann, was previously in a band I REALLY liked called “US Maple”. Mostly, I just wish Dead Rider was US Maple. But, it’s not, so I guess I should just get used to it.
Second, Dead Rider’s musical style is amorphous. One song will be in one musical style and the next in another. On Crew Licks, this means you get a couple Hendrix-esque tunes, a couple Sweet-esque tunes, and, god help me, a couple that sound like a more eclectic Red Hot Chili Peppers. This means, I like some songs on the album, and some rub me the wrong way. Again, after 4 albums, you’d think I’d make my peace with this.
They are named after a Hawkwind song, so I guess that is something.
I should probably just go see them live, they’re playing the Hemlock on Oct 6. I’m sure they rock.
This album has more of a feel as if someone turned on a recorder while they were practicing, than if they were intentionally recording a solo album.
A lot of the time he will find a phrase, play it once, then repeat it down a key, then another, then another, to the lowest he can play it on his horn. Or take the same phrase and repeat it several different times with different emphasis or different techniques. There’s are also a lot of pseudo classical themes that pop up and things that sound like circus music, along with some Jazzy improvisation.
Sands is technically interesting, as someone who plays an instrument, and is curious about other musician’s thought processes or how they practice. I feel like I am being given a look behind the curtain. But, I don’t find it compelling listening, as a Jazz listener.