An Even Break (Never Give a Sucker) by Sonny Murray.
A most excellent exercise in poetry and freedom from the late Mr Murray and compatriots circa 1969. Great blowing from Lancaster and Terroade, fine bass work from Mr Favors, and Mr Murray holds it down. It sounds like a much larger ensemble than it is.
I just wish it was longer, I could listen to this all day.
Another online referral, this time from Joel Berk. He mentioned Sunwatchers were embarking on a West Coast Tour, and I know he likes the crazy jams, so I thought I should give them a listen. Especially since they’ll be playing within a few blocks of my house Tuesday, Jan 23.
Sunwatchers contain members of Dark Meat, Arthur Doyle’s New Quiet Screamers, NYMPH, and Chris Forsyth’s Solar Motel Band. A super-group, of sorts.
They are in the same neck of the woods instrumentally, and philosophically, with bands like Horse Lords. Extended songs based on theme and subtle variation on rhythm and melody. Though, the scales and rhythms they base their jams on are more attuned to Western musical stylings than the African and Eastward looking tendencies of the Horse Lords.
Thoroughly enjoyable, however, and I look forward to seeing them at the Knock Out Bar in a couple weeks.
Bandcamp link: Sheer Hellish Miasma
For a second random selection from Mr Kevin Drumm’s oeuvre, I selected “Sheer Hellish Miasma”. Sheer Hellish Miasma is nearly the exact opposite of the quiet and peaceful “Trouble”. The sound samples I can identify sound like band saws, radio static, and jack hammers.
This is definitely an old school “Industrial” sound.
Now, turning these sorts of sounds up to car, and teeth, rattling decibel levels as you wend your way across the city isn’t to everyone’s taste. But if a sort of ‘symphony of industrial noise’ is something you can imagine listening to, you might enjoy “Sheer Hellish Miasma”. #SheerHellishMiasma
An online acquaintance, Ian Fenton of Frozen Reeds, had mentioned on occasion that s/he was listening to Kevin Drumm. Since Mr or Ms Frozen Reeds knows a bit about electronic music, I thought I should check out what is up with Mr Kevin Drumm.
I still don’t know much.
Mr Drumm is a very prolific recorder of music. Going from his bandcamp page, he records and releases an album or two a month. He also appears to be from, or live in, Chicago, IL.
I selected Trouble at random because I liked the cover and the notion of “Trouble”. However, Trouble is one of the least troublesome records I’ve run across. If I had to pin down the sound source, I would guess some sort of Tibetan ringing bowls, but it could be something as simple as a treated or bowed guitar.
The record, according to the liner notes, is, “Intended for quiet listening (suggested stereo system volume setting 4).” And it really is quiet album. It was a rainy day, and between road noise and the rain, it was pretty impossible to hear Trouble while driving. So not a great commute soundtrack.
However, it is pretty great music to listen to as intended.
Turn down the lights, put on the stereo, and zone out as sounds ring across and back from the event horizon.
From the Thrill Jockey Website: “SAICOBAB is the Japanese quartet of vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass), and acclaimed in Japan Motoyuki “Hama” Hamamoto (percussion, gamelan). SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas. On their debut album SAB SE PURANI BAB, YoshimiO’s leaping, animated, effected vocal melodies dance fluidly through Daikiti’s intricate sitar patterns. The entrancing synergy of Goldman and Hama’s rhythmic pulse drives and shapes the aptly named SAICOBAB’s sound to one that is at once rooted in ancient tradition, and wholly new.”
Lekhfa by Maryam Saleh, Maurice Louca, and Tamer Abu Ghazaleh.
A collaboration between three Egyptian musicians, two vocalists, Maryam Saleh and Tamer Abu Ghazaleh, along with multi-instrumentalist and producer Maurice Louca.
What I think of is how Middle Eastern and Indian music influenced American and British Psychedelic rock musicians. This album is sort of the reverse happening, with American and British Psychedelic music returning and influencing these Egyptian musicians.
There is always something interesting happening on this album, whether it is the vocalist intertwining with synthesizers or unexpectedly modern beats under traditional instrumentation.
Another album I heard via Forced Exposure, who have the following to say about the album, “Maryam Saleh, Maurice Louca, and Tamer Abu Ghazaleh, names that have turned heads in alternative Arabic music with solo albums and conspicuous collaborations. With Lekhfa, they give birth to an off-kilter sound where layers of grit and beauty intertwine in and around the dystopian poems of their contemporary Mido Zoheir, whom they’ve dubbed the fourth member in this creation, and one of the most talented Egyptian poets of their generation.”
The DKV trio is a long running group with Hamid Drake (Drums), Kent Kessler (Bass), and Ken Vandermark (Woodwinds). This album was recorded live in 2014 at The Silver Maple in Milwaukee, WI. While Messr’s K and V’s contributions to this album are fantastic, it is Mr D who stands out most to me. His drum solos on “Faster Than it Would Be” and “20th Century Myth” are stunning examples of loose limbed grace. Each time I listen to each of those songs, I hear another cool aspect of Drake’s playing I missed the previous times, like examining a crystal from a different angle. A master class in percussion.
Free without losing it’s funk, this is a fantastic album by three modern masters at the top of their game.
Marker is a new ensemble from Andrew Clinkman, Steve Marquette, Macie Stewart, Phil Sudderberg, and Ken Vandermark. Two guitars, violin/keyboards, drums, and reeds, respectively.
The first song on Wired for Sound “Okinawa Bullfight (For Chantal Akerman”, starts out sounding like an outtake from a Wilco album, moves to a brief free improv section, and finishes with an Ethio-Jazz Sax workout.
The other songs are equally diverse, mixing Jazz, Rock, Soul, and Improv tropes with abandon and fervor. If you’re a, “please don’t get peanut butter in my chocolate,” kind of person, you may not enjoy Marker. Otherwise, hop on, strap in, and enjoy the ride.