Brazilian samba run through a psychedelic dub blender. Very cool. Ends up reminding me a bit of My Bloody Valentine. Sad I missed their show at The Chapel last week. Another release courtesy of the exotic music explorations of the wonderful Michele K-Tel.
Toronto based Aurochs are a keyboard, bass, drums, and “electronics” quartet. The songs on this album are arranged as a continuous track. Minimal, atmospheric Jazz which occasionally breaks into a groove. I like how they take the time to develop moods and themes.
A mix of original tunes, a standard, a handful of Mengelberg pieces, and some improvisations, Adelante has a familiar feel, even on it’s most “out” sections. Toldham and Badenhorst are both very tuneful players. Overall, a pleasing album, if occasionally a bit bland.
The Damage is Done by McPhee/Brötzmann/Kessler/Zerang.
An early tendency towards noir jazz, encouraged by Mr Kessler’s bass lines, leads towards some pleasantly lyrical passages from Brötzmann. However, when McPhee switches to Tenor, about 20 minutes in, the take-no-prisoners, two Tenor skronk-fest you were hoping for materializes. Invigorating.
Since I’m going to see King Crimson in a couple weeks, I thought I should check in on what they are up to. Predictable key changes, inane lyrics delivered in an an overly sincere manner, sub-Kenny G lite-jazz Soprano Sax, and a modicum of Frippertronics. Thinking I should have listened to their recent output BEFORE buying a ticket. The price of nostalgia.
With various vocal and instrumental collaborators providing long tones over Colpitts’ propulsive drum arrangements, the contrast between the two gives this album a trippy, psychedelic feel. I want more. <--Gratuitous Can Reference.
#TodaysCommuteSoundtrack #KidMillions #JohnColpitts #ManForever #LaurieAnderson #YoLaTengo #MaryLattimore #GratuitousCanReference
John Dikeman, Jon Rune Strøm and Tollef Østvang choose as the name of their trio the title of an Albert Ayler’s composition, “Universal Indians”, because of its double symbolism. The purpose was to inspire their playing in the free jazz patrimony of the likes of John Coltrane, Ornette Coleman, Cecil Taylor and Ayler himself, and for all effects art and culture in our time are more and more global adoptions (“universal”) of singularities(“indians”). But in what refers to symbols they go even further – in “Skullduggery” they have the partnership of another one of the “new thing” mavericks, Joe McPhee. Now, you may ask: is this a nostalgic celebration of the past, with the same kind of revisionist perspectives we find in present recuperations of the bebop formats? No. That wouldn’t be possible with the involvement of someone like McPhee, even if the American relocated in Amsterdam and the two Norwegian improvisers wanted it, and they don’t. Their guest is widely known for his achievements in renewing the free subgenre, and in his path he made important contributions to other music practices, namely Pauline Olivero’s deep listening electro-acoustic concepts, Nihilist Spasm Band’s radical brand of noise and the jam rock of The Thing with Cato Salsa Experience. This CD reflects that openness and what you have here is the free jazz after free jazz. Intrigued enough?
Roulette of the Cradle by Ingrid Laubrock Anti-House.
This is the sort of music that your more hide bound “Jazz” traditionalists tend to hate. That is, while sections do occasionally “swing”, large swaths are more influenced by some of the more expressionistic aspects of 20th Century Classical music. Skittering polyrhythms, tone clusters, etc. Personally, I enjoy that the instrumentalists and composer cast a wider net than simply Ragtime, Blues, and “Jazz” for their inspiration. Also, great song titles.
A set of 16 composed and improvised duos between Kris Davis and a variety of collaborators: Don Byron, Tim Berne, Marcus Gilmore, Billy Drummond, Angelica Sanchez, Craig Taborn, Julian Lage, and Bill Frisell. All the pieces have their own charm, but I am especially fond of the piano duos with Craig Taborn.