Archive for the ‘new release’ Category

Matthew E. White’s Calibrated Subtlety

Friday, May 22nd, 2015

Matthew E. White has been musically active for many years, including collaborations with Megafaun and the Mountain Goats and three albums with avant-jazz group Fight the Big Bull. But as an artist recording and touring under his own name, he’s a relative newcomer.

The story making the rounds is that White’s debut – 2012′s Big Inner – wasn’t really intended as an album at all. White recorded the collection of songs to demonstrate the capabilities of the Spacebomb House Band and his record label of the same name. That record caught on with critics and listeners alike, and effectively launched White’s career as a name artist. “I think that story has gotten lost in translation a little bit,” says White. “By no means is Big Inner a ‘demo’ in the sense that we didn’t work as hard on it as we might a normal album.” White makes it clear that the album is intended as “a purposeful and intentional personal artistic statement.”

The success of Big Inner did attract some high-caliber artists to the Spacebomb label, most notably singer/songwriter Natalie Prass. “I try to be successful both personally and with the Spacebomb team,” White says. “And I work pretty hard on both of those things.”

Born and raised in Virginia Beach, White grew up listening to pop music. “I listened to Chuck Berry and Beach Boys as a little kid, Pearl Jam and Soundgarden in middle school, and all kinds of stuff in high school: good and bad,” he recalls. He discovered jazz while in college, and subsequently “really went back, started at the beginning, and connected it all.” The result of his talent filtered through those influences is music that’s tough to describe. “If I have to say one thing, I say ‘soul’ or maybe ‘r&b.’ But I know that’s not quite right. Sometimes,” he laughs, “I say ‘gentleman’s psychedelia from the New World.’” I suggest that to my ears, he’s sort of a cross between Isaac Hayes and Berlin-era Lou Reed. He smiles and says, “I’m just going to start saying that. Perfect.”

 

Photo credit: Shawn Brackbill

On the just-released Fresh Blood, White builds upon the sonic foundation established by his debut. He concedes that he didn’t want to repeat himself musically. “But at the same time, I don’t believe in just changing variables and setting a completely different course. There’s a vocabulary that I’m working on, and I want it to develop.” On Fresh Blood, White sought to create an album that “contain[s] bits and pieces of old vocabulary as well as pushing the language farther into something new.”

On both records, there’s a lush, dense and richly layered texture, in part the result of the sonic effect of the large Spacebomb House Band. But White’s touring band is four musicians, including himself. “Obviously we have to adapt [arrangements] a little bit,” he concedes. “But to me, the songs are the centerpiece of the record. And in the live show it’s the same.” He prefers not to think of studio work and live performance as connected. “They are such different mediums that interact with people, budgets, administrative details and cultural context so differently. To make decisions on one based on the other limits both,” White believes.

Matthew E. White’s records feature strong hooks and melody, yet one word that comes to mind when hearing them is subtlety. “Well,” White chuckles, “the live show with the band isn’t so subtle, that’s for sure. It’s much more direct than the album is.” He goes on to say that the records’ subtlety is “less purposeful than it seems, actually. There are a lot of times when I think I’m being pretty direct and it’s taken as being much more subtle than I think it is. I think I’m just calibrated a little differently in that way.”

An edited version of this feature appeared in Mountain Xpress Magazine.

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Review: Two New Albums featuring Larry Coryell

Wednesday, May 20th, 2015

One of music’s greatest guitarists, Larry Coryell has enjoyed – and continues to enjoy – a long and storied career. After his professional start playing with Chico Hamilton, Coryell launched a solo career, enlisting the musical help of some of the most innovative, boundary-pushing musicians to aid in his own musical explorations. He’s played in most every style, and one of the qualities that differentiates him from many of his contemporaries is that he does so with an unparallelled level of authenticity; there’s no whiff of dilettantism in Coryell’s excursions into hard rock, soul jazz, classical, acoustic, or other forms and styles.

Being such a restlessly varied musician carries with it a price, as others in the rock idiom know too well; I’m thinking here of artists such as Neil Young. When you can’t be counted on to make an unbroken string of recordings in roughly the same style, you’re hard to market. Thankfully, Coryell has sustained a career that lets him remain safely above such concerns. The result is a buffet of musical wonders. And though the man rarely looks back (as he told me, he has little or no interest in his back- catalog, and he has no control over it either), there’s nothing – other than the scarcity of some of those discs – that prevents listeners from exploring his older material.

And modern-day listeners have the best of both worlds. Two new releases make this plain: Coryell has just released another new album on Wide Hive Records, Heavy Feel, and something called the LiveLove Series has a new archival release of a January 1975 concert recording featuring Coryell’s underrated and under-appreciated fusion ensemble, The Eleventh House. What follows is a look at both of these new releases.

Larry Coryell & The Eleventh House – January 1975
At the time of this recording, Coryell’s Eleventh House were near the peak of their powers and popularity. Thanks to the foresight of Radio Bremen, prime-era Eleventh House were captured onstage in Germany. This flawless recording documents twelve numbers from the show, including three compositions that have never been released before in any form. After grabbing the audience’s rapt attention with a fiery “Bird Fingers,” The Eleventh House settle into a groove that showcases the many talents of Coryell and his bandmates: Mike Lawrence on trumpet and flugelhorn, bassist John Lee, keyboard whiz Mike Mandel (by this time, a longtime Coryell associate), and powerhouse drummer Alphonse Mouzon.

It’s worth recalling that in the early and mid 1970s, musicians could get away with making music that didn’t invite easy classification. Is this stuff jazz? Rock? Fusion? It’s often all three at once; listeners unfamiliar with The Eleventh House might appreciate knowing that their approach is in roughly the same vein as John McLaughlin‘s work with Mahavishnu Orchestra, but perhaps leaning a bit more toward smaller, less busy (or cluttered if you don’t dig the approach) arrangements.

January 1975 features tunes from the 1974 debut Introducing the Eleventh House, and Level One, which was either very recently or (more likely) soon-to-be released. The highlights of the entire show, however, are Coryell’s “Low-Lee-Tah,” and Mouzon’s aptly-titled “Funky Waltz,” both from the debut disc. An extended version (twice the length of its studio counterpart) of “Suite (Entrance/Repose/Exit)” is pretty thrilling, too, what with Coryell making intelligent use of the wah-wah pedal (a device pretty well thought out of fashion by ’75) while his bandmates show that horns and analog synths can coexist (though not exactly “peacefully”).

Those three previously-unheard tunes are Mouzon’s blindingly fast “Tamari,” a Mandel multi-keyboard showcase called “Untitled Thoughts,” and a Coryell one-chord workout to close the set, “The Eleventh House Blues.” All are worthwhile, and hold up when considered alongside The Eleventh House’s official canon.

Larry Coryell – Heavy Feel
One could argue that in 2015 Larry Coryell has a lot less to prove. As such, he could – should he choose – rest on his laurels, reiterating what he’s said musically. But that doesn’t seem to be his approach. Not counting some contributions to a compilation, Heavy Feel is Coryell’s third album working with The Wide Hive Players. Produced by label head Gregory Howe, the album features Coryell on both electric and acoustic guitars, joined by bassist Matt Montgomery, drummer Mike Hughes, and George Brooks on soprano sax.

The slow burn is the favored approach by the ensemble for most of Heavy Feel‘s nine tracks. “Ghost Note” is an exemplar of that approach, with the band subtly laying down a backing while Coryell plays thickly chorded jazz guitar. After Coryell’s exhortation to his fellow musos, the ensemble launches into the romantic “River Crossing,” with Coryell providing ace acoustic support while Brooks takes the lead. There’s a north African feel to the tune. When Coryell executes some lightning runs on the fretboard, he moans along somewhat tunelessly; it’s either maddeningly annoying or disarmingly endearing, depending on your point of view.

Some reviews of Coryell’s first outing on Wide Hive noted that the disc was a bit less powerful than it could have been. Whether in response to that criticism or simply as a function of where Coryell and his bandmates chose to go, Heavy Feel does live up to its title. It’s simultaneously subtle and understated while rocking.

The title of “Polished” must be meant sarcastically, because Coryell’s playing here is anything but. It has the immediacy of a first take, and could almost be called sloppy. But it’s good. The title track finds the band laying down a garage-band foundation, but the players still find interesting things to do with it musically.

“2011 East” returns to a jazz vibe vaguely suggestive of what The Bill Evans Trio might have sounded like without a piano (and with a guitarist and sax player). “Sharing Air” goes for the boogaloo, sounding not unlike something The New Mastersounds might cut in a late-night session. “Jailbreak” is not a jazz-rock reading of the Thin Lizzy classic; instead it’s a marching tune with Coryell and Brooks playing lockstep (and then call-and-response) as they execute some exceedingly trick (yet tuneful) melodic lines. It’s a highlight of Heavy Feel. The disc closes with “Foot Path to Oasis,” a return to the sound and vibe of “River Crossing.”

Heavy Feel isn’t Larry Coryell’s most groundbreaking album. But it’s thoroughly enjoyable and – as a document of where the 72-year-old guitar master is today – a recommended purchase.

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Book Review: Feedback: The Who and Their Generation

Tuesday, May 19th, 2015

I’ve mused before on these virtual pages about the uncomfortable – and arguably even tenuous – relationship between scholarship and rock music. Somehow the pairing just doesn’t seem natural, even though a significant portion of rock is intelligent, and (I imagine) some scholarly works are at least in part informed by a rock’n'roll sensibility. But in general, the two go together like…oh, pick your own metaphor; I haven’t had my coffee yet. Oil and water? That’ll do for now.

Still, I remain open and receptive to endeavors in that area. And that openness – wise or misguided; you decide – led me recently to Casey Harison‘s Feedback: The Who and Their Generation. This book seeks to place The Who into the author’s context of something he calls “Atlantic history.” For the purposes of his study, Harison constructs a cultural and geographical entity he calls the Atlantic; this region includes the United States (and presumably Canada, though it doesn’t figure into the narrative) and Western Europe (with a decided emphasis on England).

With that basic scene/premise set and accepted, Harison endeavors to place The Who into the context of social, historical, and even political trends throughout the second half of the 20th century. Fair enough, you might say. But he doesn’t stop there: the author widens his historical lens to place that narrative into the context of the last, oh, five hundred years.

What that means in practical terms is that readers find a discussion of Renaissance minstrelsy alongside a look at Pete Townshend‘s guitar playing. Harison draws some very interesting connections – and, you may be glad to learn – avoids making grand, sweeping hyperbolic assertions about The Who’s place in it all. But somehow the whole enterprise feels a bit overcooked, a bit of, dare I say, a stretch.

Based on his knowledge, his writing skill, and his ability to elucidate a point, I have enough respect for the author to believe that the genesis of this book was more than a case of Harison saying to himself one day, “Hey, I’m a history professor with a special interest in Atlantic history. And I also dig The Who. Now there’s a book idea!”

And to his credit, Harison devotes a good portion of the book’s 175 (or so) pages to a survey and analysis of what he calls the “crosscurrents of influence” between the USA and Europe. There’s plenty of interest within that topic, for both the scholarly-inclined and the general rock-fan reader (as well as the six or seven people who fall into both categories, ha), and Harison does not disappoint. He really does know his stuff. I’ll wager that Who fans reading this will learn some fascinating things about the history of the Western world, and that Feedback: The Who and Their Generation will spark new interest in The Who among sheltered academic types. And what’s not to like about those outcomes?

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The Corner Laughers Let the Music Do the Selling

Monday, May 18th, 2015

It’s a source of some mild amusement that when I Google “corner laughers,” the right-hand side of the resulting screen lists a number of the Bay Area group’s songs as dating from 1971. I’m pretty certain that at least two of the group’s number – bassist Khoi Huynh and his spouse, vocalist/ukulele player Karla Kane – weren’t even born in ’71.

But I can see where the mistake might have been made. There’s no doubt that the tuneful, upbeat, ba-ba-ba flavored music of the Corner Laughers has at least some of its roots the AM radio pop styles of the early 1970s. There’s certainly more to the group and their music than that: there’s a wickedly clever postmodern sensibility to their often-abstruse (but never obtuse) lyrics, and there’s nothing dated about the band’s crystal-clear production aesthetic. Their earlier two albums – most notably the discs recorded for and released on Mystery Lawn Music – set out and defined a sonic and lyrical style that was both distinctive and possessed of enough wiggle room to allow the group the freedom to move in many musical directions.

There’s a timeless sunshine pop sensibility to the group’s music. In the great tradition of groups like The Turtles, The Corner Laughers are never afraid to use “la la la la” as a lyric. And their music is very effective at conveying an upbeat feel, even when the lyrics are a bit dark, or a bit bent.

In my review of The Corner Laughers’ Poppy Seeds (2012), I characterized the group’s music as “earwigs,” that is, music that stays in the listener’s head long after the last note has faded away. And that quality is consistent on their upcoming release as well: the ten songs on Matilda Effect (out officially in mid-June 2015) continue in the tradition of catchy musical confections.

And the group’s approach has ukulele as a central component. The uke isn’t rock or pop’s most common instrument – not by a long shot – but it is enjoying a resurgence, thanks to the tuneful uses to which it is being applied. The Corner Laughers weren’t hitching onto some bandwagon by adding a ukulele player, though. “I just happened upon it,” Karla Kane says. “Khoi just had one laying around.” she picked it up and “started noodling a bit, and then learned a few chords.” Though until that time she didn’t play any instrument, Kane notes that she had already begun writing songs. “That was a long time ago,” she hastens to add. “I’ve been playing for awhile now.”

Karla goes on to note that the instrument’s small size and lightweight qualities make it great for using live onstage. Hers is amplified so it can be heard alongside the guitar work of KC Bowman and the rhythm section of Huynh and drummer Charlie Crabtree.

The group’s live dates sound a bit different than the record, because the studio recordings make full use of multi-tracking techniques to layer Kane’s multiple vocal parts. Onstage, Kane says that “Khoi and KC do a lot of the backing vocals. But,” she laughs good-naturedly, “they don’t always have quite the same range as I do.”

Not only are The Corner Laughers superb musicians, but they’re all serious fans of music. Not long ago they got the chance to work with Martin Newell. Kane believes that Newell should be “the most famous musician in the world.” And while the music that Newell makes – both under his own name and as Cleaners From Venus – has a more DIY aesthetic to it than the highly-polished Corner Laughers releases (thank producer Allen Clapp for that), Newell’s music shares a deep understanding of the value of melody and carefully-thought-out lyrics.

So what did the band learn by working with the Grand Old Man of DIY? “Playing a show with him was my ideal show,” Kane gushes. Her thought right after the gig: “What do I do now? I don’t know! That was my dream.” Karla has a special appreciation for Newell’s words. “He’s the best lyricist I know. He puts such care into making the lyrics count. He literally is a poet.” She goes on to praise the quintessentially British tone of Newell’s lyrics; those same values figure into The Corner Laughers’ music. Kane says that the tune she describes as an “insomniac’s lullaby” (“Lammas Land”) was inspired by – and written immediately after – the group’s performance with Newell.

Some of the group’s songs are lyrically impressionistic; others are about more defined subjects. “The song ‘Octavia A’ was written to be the theme song for my daughter,” Kane says (Like Kane and Huynh, drummer Charlie Crabtree and his wife became parents recently). “But you don’t have to know that, or know her,” Kane says, to enjoy the song.

There’s another band on the Mystery Lawn Music label, a group called Agony Aunts. And that group sounds similar (but not identical to) The Corner Laughers. “Khoi and I had been big KC Bowman fans,” Kane recalls. “But we didn’t know him at all; we didn’t even know that he lived close by. But through Facebook, we became friends with him. And Agony Aunts, when it started, was us and KC. That was before he joined The Corner Laughers.” Today the core lineup of both bands (the three mentioned plus drummer Crabtree) is identical, but the lyrical approaches differ. “Agony Aunts songs tend to be written by KC,” Kane says. And Agony Aunts songs are, “I don’t know…maybe a little more psychedelic,” suggests Kane. “A little more mysterious. They’re the Dukes of Stratosphear to our XTC,” she laughs.

Some of The Corner Laughers’ label mates – most notably The Orange Peels and The Paul & John – have launched crowd funding initiatives to finance some of their releases. But not so The Corner Laughers. The answer why may be as simple as this: they’re a bit on the bashful side. “None of us feels comfortable doing it,” Kane admits. “It’s a lot of work, and a lot of…salesmanship. We’re all a bit shy; I guess we’d rather let the music speak for itself. ”

Happily, Matilda Effect does just that. The album will be available on CD, MP3, FLAC and – a first for The Corner Laughers – good ol’ vinyl, on June 12.

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Hundred Word Reviews for May 2015, Part 10

Friday, May 15th, 2015

Over the last nine business days, I’ve surveyed 45 albums of new, reissued, and/or archival music from a wide array of artists in jazz, prog, soul, rock and other genres. Each review has been exactly 100 words. Today I wrap up that series of capsule reviews with a quick look at five video releases.

Jack Bruce – The 50th Birthday Concerts
Though it’s long been in the archives of German television program Rockpalast, this set was presumably rush-released in the wake of Bruce‘s October 2014 death. A wildly varied set in terms of musical styles, this 2DVD document of 1993 concerts shows off the amazing versatility of the vocalist/bassist. Opening with a solo (acoustic) bass reading of J.S. Bach’s “Minuet No. 1,” switches to piano (with vocal) and then brings on supporting musicians (including multi-instrumentalist Gary Husband and Bruce’s sparring partner, drummer Ginger Baker.) All involved are in fine form as they tear through Bruce solo material and several Cream favorites.

Queen – Live at the Rainbow ’74
On the strength – or rather the lack thereof – of their 1979 double LP Live Killers, I decided that Queen were pretty dreadful live. Not Rolling Stones dreadful, but simply unable to draw upon the balance of refinement and energy that made their studio albums so rewarding. This set from a few years earlier (in other words, at the height of their powers) has set me right. Live sound reinforcement in the mid 1970s was primitive by today’s standards, but you’d never know it from this performance and recording. If anything, these versions are better than their studio counterparts.

Yes – 35th Anniversary Concert: Songs From Tsongas
Even a semi-hardcore Yes fan has to admit that they milk their repertoire pretty thoroughly. As Jon Anderson admits toward the end of this set, “We seem to get together so many times over the years.” This 2004 performance in Massachusetts was part of the Magnification tour, and featured the more-or-less classic lineup (Anderson, Rick Wakeman, Steve Howe, Alan White and Chris Squire) halfway through the final period they’d all make music together. A bit mannered – as are all Yes shows – it shows the five in full possession of their sharp musical faculties. An excellent show on Blu-Ray.

The Rutles – Anthology
Long before The Beatles got around to making their Anthology, some of the guys from Monty Python made a Beatles history (a “mockumentary” that predated This is Spinal Tap), All You Need is Cash. (They had help from one Hari Georgeson, as well.) It’s now legendary as one of NBC-TV’s lowest-rated specials ever broadcast (I saw it). This new Blu-Ray reissue greatly improves the audiovisual quality over earlier versions, and adds relevant bonus material (some earlier, some much later) to create an Anthology of their own. The packaging art alone is wickedly clever, as are the bits on the disc.

Various – A MusiCares Tribute to Paul McCartney
In 2012, the nonprofit organization MusiCares honored Paul McCartney as their Person of the Year. The gala event included a superstar lineup of artists paying tribute to Sir Macca. And while rock fans might be disappointed in the soft lineup (only Duane Eddy, Dave Grohl, Neil Young and Joe Walsh can be called rockers), the performances are nuanced and often quite good. Alison Krauss & Union Station win the night as they capture the beauty of “No More Loney Nights,” a highlight of the hour-long Blu-Ray. Neil Young & Crazy Horse, however, are in wobbly, old guy garage band mode.

See you next week as we return to one-a-day full-length reviews, features and interviews.

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Hundred Word Reviews for May 2015, Part 9

Thursday, May 14th, 2015

Today’s roundup of capsule reviews focuses on reissues or previously-unreleased material by acts who came to prominence (or something approaching it) in the 1980s or later.

Old 97′s – Hitchhike to Rhome
In the 1950s, country and rock’n'roll were sometimes hard to discern form one another. Then they split into to two very different styles, only occasionally re-intersecting. By my count, country rock has had three periods of resurgence. The first centered around The Byrds. The second happened during the 1980s (Lone Justice etc.). And the third – which could be said to have influenced Americana – took place in the 1990s and featured Austin’s Old 97′s as its exemplar. Omnivore Recordings continues its intelligent digging into the past with this expanded (2cd) set built around the band’s excellent 1994 debut LP.

Willie Nile – The Bottom Line Archive
One of the observations made about 1960s rock is that owing to a glut of great acts, many very good ones fell through the cracks and languished in obscurity. Good point, but it happened in other decades, too. When I saw The Who on their mini-tour of the USA in 1980, Willie Nile was the opener. He never did quite make the big time, but he gigged pretty hard. Disc One features a great show from that same year. A second disc documents a 2000 show. Nile’s “Vagabond Moon” is a highlight of both. Nile sounds not unlike Roger McGuinn.

Game Theory – Real Nighttime
Among fans of the band, 1985′s Real Nighttime is generally considered their best album. With improved songwriting and excellent signature production from Mitch Easter, Real Nighttime is a great improvement over already-very-good earlier albums. As I’ve noted before, to my ears Game Theory often sound a bit like Let’s Active crossed with The Three O’clock and Sneakers; based on this album I’d add R.E.M.,the Bangles and maybe even a bit of Hoodoo Gurus to that list. Great company to be in, I’d say. The reissue features the original 12-track album plus thirteen bonus tracks, most of which are previously unreleased.

Camper Van Beethoven – New Roman Times
This one’s a bit of a head-scratcher. Camper Van Beethoven enjoyed their heyday in the second half of the 1980s, a time during which they were that decade’s answer to Kaleidoscope (not that many asked the question). After folding in 1989, they reunited with an idiosyncratic “cover album” of Fleetwood Mac‘s Tusk. Only then did they release 2004′s New Roman Times. It’s a strong return to form, and was released on the tiny indie Pitch-A-Tent label. It’s still available, and Amazon has used copies for 1¢. But Omnivore has seen fit to reissue the album, now with four bonus tracks.

Mike + the Mechanics – Living Years
Phil Collins took breaks from his gig with Genesis, venturing out to make popular solo albums. It was only reasonable that his bandmates would make similar moves. Guitarist Mike Rutherford had success of his own with Mike + The Mechanics. Their second album Living Years (1988) was a big seller thanks to the haunting title track, and led to successful touring that continued on and off into 2004. The group’s lineup featured mainstay vocalists Paul Young and Paul Carrack (Young died in 2000). This reissue adds a disc full of live tracks and a studio remake of the title tune.

Still more to come.

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Hundred Word Reviews for May 2015, Part 7

Tuesday, May 12th, 2015

It’s an all-jazz-legends day here on Musoscribe: three new compilations and two reissues document some important music from some of jazz’s innovators.

The Elvin Jones Jazz Machine – Remembrance
Post-bop drummer Elvin Jones launched his recording career in the late 1940s as a sideman with Billy Mitchell; he’d go on to play on well over a hundred albums, including titles by John Coltrane, Larry Coryell, and many others. His career as a bandleader on record began in 1961 and continued until the end of the century (he passed away in 2004). This timeless 1978 MPS release (now reissued) was recorded in a mere three days; Jones swings, and the ensemble crackles with excitement. Two horns, bass, guitar and drums: Remembrance is the real (not watered down) stuff. Dig it.

Joe Pass – Intercontinental
Legendary guitarist Pass mixes classics, stands and even his interpretations of pop hits (Bobbie Gentry‘s “Ode to Billy Joe”) on this characteristically understated outing from 1970. His twentieth album under his own name, Intercontinental was his first and only release for German-based MPS. It’s a testament to just how much a trio (electric guitar, Eberhard Weber‘s upright bass, drummer Kenny Clare) can do when the talent’s there. Decidedly mellow, there’s not a note out of place on the record. Pass’ occasional scale runs are a thing of beauty. The Latin flavor of “Meditation” is a highlight, but it’s all great.

Jimmy Smith – The First Decade: 1953-62
Jazz Hammond organist Smith recorded prolifically, and much of his work crossed over to pop success; he’s an exemplar of soul jazz. But material from the first ten years of his recording career is sometimes more difficult to locate than later output. This 4CD set aims to set things right. The sound quality on the very earliest cuts (including “Sonotone Bounce” from The Don Gardner Trio) is a bit dodgy, but the energy more than offsets any sonic shortcomings. Smith’s runs on the Hammond’s two manuals seem effortless, and helped define a genre. An excellent entry point for the novitiate.

The Miles Davis Quintet featuring John Coltrane – All of You: The Last Tour 1960
Miles Davis’ 1960 European tour was the bandleader’s last to feature John Coltrane. While bits and pieces of live recordings have circulated among collectors, All of You is the first legitimate release to attempt exhaustive documentation of those dates. A compilation of radio tapes and private (cough…bootleg…cough) recordings of performances from March 21 (two shows), March 24th and 30, April 3 (two shows) and April 8 (the most complete recording) spanning four CDs, this is essential for fans of Miles, Coltrane, and/or of both. Considering the age and provenance of the source tapes, the overall sound quality is very good.

The John Coltrane Quintet – So Many Things
Shortly after Coltrane parted ways with Miles Davis (see above), he embarked on his own 1961 European tour with a band of his own. Those players are all now jazz household names: Eric Dolphy on sax, bass clarinet an flute; pianist McCoy Tyner; Reggie Workman on bass, and Elvin Jones (see above) joined Coltrane in this short-lived lineup. This four-disc compilation brings together recordings of five concerts (in six days!) in Paris, Copenhagen, Helsinki and Stockholm. Multiple versions of “Blue Train,” “Impressions,” and of course “My Favorite Things” make up the bulk of the set. Sound quality is surprisingly good overall.

More to come.

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Hundred Word Reviews for May 2015, Part 5

Friday, May 8th, 2015

This week of capsule reviews spotlighting new music wraps up today with five releases that all came to me on vinyl. I love vinyl. Did I mention that I really enjoy listening to music on vinyl? Well, I do.

Anthony W. Rogers – Wrong…
When this record arrived in my mailbox, I thought to myself, “I know that name…”. Then it came to me. Through the 1990s and beyond, a network of hardcore fans collected and traded live recordings of Todd Rundgren and related artists. And Anthony Rogers was one of the scene’s leading lights. But on this new solo album, Rogers stakes out musical territory that supposedly draws on SMiLE-era Brian Wilson. The tunes on Wrong… have a distinct DIY/lo-fi ambience, occasionally recalling Wilson, sometimes Rundgren. But Rogers’ music nearly always reminds me of that most idiosyncratic of pop artists, R. Stevie Moore.

Harpoon Forever – American Flag EP
This four-song EP sounds as if it were recorded in somebody’s garage, on cheap equipment. But that lo-fi approached worked for Guided by Voices; it works here, too. Shifting time signatures applied to sturdy, vaguely folk-rocking songs might confuse some listeners, but the catchiness of the melodies and the fetching everyman vocals of guitarist/songwriter Alex Goldstein shine right through. A gauzy approach vaguely recalls Third/Sister Lovers era Big Star, filtered through the sensibility of someone whom (I’m guessing) digs prog as much as he likes Pavement. On this disc, Harpoon Forever is a duo; these days they’re a full band.

Lannie Flowers – “Best I Can” b/w “Back of a Car”
Lannie Flowers really has it going. He writes, play and sing fantastic, infectious pop tunes. And he’s quite consistent at it. Better still, he’s quite prolific these days. Just last year he released an excellent live set, Live in NYC. That collection presented Flowers and band in front of an audience that was as enthusiastic as it was small. This single’s b-side, a lovely Big Star cover, is taken from that set. But the a-side is another in Flower’s growing catalog of winning rocking pop tunes. To his tried-and-true mix he adds some simple but dramatic keyboard work. Another winner.

Alvin Youngblood Hart – “Helluva Way (For a Man to Make a Livin’)” b/w “Watchin’ Brian Jones”
An object lesson in the “never judge a book by its cover” category, this single features the customarily acoustic guitar playing Hart (of the South Memphis String Band) rocking out in a big way. If his greying beard and Gibson Flying V don’t provide enough cognitive dissonance, a listen to this blistering 45rpm single should do the trick. Taking his “Helluva Way” at breakneck speed, it’s garage punk at its finest. The flip is a low-and-slow bluesy romp full of sly, clever lyrics. Less than seven minutes with Hart will convince you he could succeed in damn near any genre.

TimLee3 – 33 1/3
Tim Lee was a key member of 80s alternarock underground darlings The Windbreakers. These days he shares the spotlight with his missus (Susan Bauer Lee) and drummer Chris Bratta. Lee’s old group’s twangy take on powerpop is built upon in his trio: Susan takes many lead vocals, giving the band an original sound reminiscent of Jason & the Scorchers crossed with X, but decidedly upping the hooks-and-melody quotient to Plimsouls level. The chiming “Photo Booth” is guaranteed ear candy; the sweeping, dusty grandeur of “Our Lady of the Highway” is breathtaking. “Daddy’s Girl” is a delightful c&w romp. Highly recommended.

More to come.

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Hundred Word Reviews for May 2015, Part 4

Thursday, May 7th, 2015

My unrelenting trip through my CD backlog continues today with five more capsule reviews. These five are rock and/or soul and/or pop.

The Monochrome Set – Spaces Everywhere
Heroes of the first wave of new wave, The Monochrome Set formed in the late 1970s. Though they never achieved any measurable success in the USA, they’ve persisted. Lucky us. Their songs have a lot in common with that UK style pub rock. On their latest, they head in some new directions: on several tunes, lead singer Bid sounds uncannily like The Smiths‘ singer Morrisey. Guitarist Lester Square (great stage name!) turns in tasty lead guitar lick after lick, making Spaces Everywhere a consistently rewarding listen. And dig that Hammond organ and those female backing choruses! You should hear this.

Dina Regine – Right On, Alright
Soulful rocking with assured lead vocals is the order of the day on this, the debut disc from New York-based Dina Regine. None of that fancy Autotune nonsense – or synthesizers, for that matter – appear on Right On, Alright. Instead it’s an organic album with solid rocking rhythm section and beefy horn section. The disc’s winning opening track, “”Gotta Tell You,” was named one of Underground Garage‘s “coolest song(s) in the world,” but there are even better tunes elsewhere on the disc. The ominous “Can’t find You Anywhere” bears the hallmarks of a mature songwriter. Check this one out.

The Neighborhood Bullys – Callin’ All Rockers!
This five-song EP is the band’s second in a planned series of four releases, and features straight-ahead rock’n'roll tunes that all but compel the listener to follow along with fist-pumps, air guitar or air drums. Though they’ve worked with famed bubblegum/glam producer Mike Chapman before, the production aesthetic here doesn’t betray those origins. You’ve heard all of these riffs before – hundreds if not thousands of times – but this Los Angeles quartet makes every one of them sound fresh and new, and whets your appetite for the next EP release. Neat trick. I suspect they’re very good live, too.

Paul Kelly Presents the Merri Soul Sessions
Paul Kelly is rightly revered in Australia and beyond for his music. He writes and sings memorable tunes, and his catalog is deep, with twenty albums released between 1981 and the present. On his latest, he takes a radically different approach: while he wrote or co-wrote all of the album’s eleven songs (and play rhythm guitar), as a vocalist he’s nearly absent. Instead, vocal duties are variously handled by several singers (mostly women). The band assembled for this project, Merri Soul, has a very slinky Memphis vibe that is true to the classic Stax/Volt arrangement aesthetic without slavishly copying it.

BP Fallon – Live in Texas
I know my rock history pretty well, but even I didn’t know that BP Fallon was a recording artist. I’ve always known of him as a disc jockey and, well, personality. Apparently his career as a recording artists didn’t really commence until a 2009 collaboration with the ubiquitous Jack White. That track – “Fame #9” – kicks off this set. Fallon doesn’t play an instrument; guitar duties are ably handled by Joe “King” Carrasco. What Fallon does is recite is poetry/lyrics, occasionally breaking into a singsong that follows the music. It’s fascinating stuff, and the guitar fireworks add tone color.

More to come.

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Hundred Word Reviews for May 2015, Part 3

Wednesday, May 6th, 2015

I’m not complaining; it’s a good problem to have. But even after culling the ones I don’t like (and skipping the ones that impress me only mildly), I still end up with a massive pile of albums for review. And when said pile gets out of hand, I do a string of 100-word reviews. I’m right in the midst of that now; today’s collection features artists that fall more or less into the jazz category.

Nekozurashi – Ahostractions
This Osaka-based collective is led by composer/arranger/guitarist Koota Tanimura. The group’s sound distills a wide array of influences, including free jazz, big band, rock, hip-hop and more. Those who came to appreciate jazz form a rock-oriented point of view are likely to enjoy this disc, and will discern echoes of Grand Wazoo and Waka/Jawaka-era Frank Zappa. The tunes always swing, and sometimes swing for the fences. And there are even some ginchy pop songs (sung in Japanese) thrown in; those recall Absolutely Free-era Mothers crossed with, say, The Mops, and approached with a sensibility that recalls Le Sacre du Tympan.

Jason Miles and Ingrid Jensen – Kind of New
The album title is a play on Miles Davis‘ immortal Kind of Blue, but it’s not hubris for this team to reference the master; Jason Miles was Davis’ keyboard player for several years. This delightful disc features Ingrid Jensen on trumpet, and while the tracks occasionally evoke memories of Davis’ Jack Johnson period, the groove and melodies are rooted in a more accessible foundation. Mellow but never, ever falling into the tepid “smooth jazz” trap, Kind of New works equally as well as rewarding subject of active listening as it would for groovy background music for your next cocktail party.

The Aristocrats – Culture Clash Live!
Truth told, The Aristrocrats aren’t most people’s idea of jazz. But while the trio – shredding guitarist Guthrie Govan, monster bassist Bryan Bellar and drummer extraordinaire Marco Minnemann – rock out with the best of ‘em, they do in fact come from a jazz sensibility. Those who enjoy the pyrotechnics of a Steve Vai or a Joe Satriani definitely need to check out this group. There’s a bit of overlap between the tracks on the live CD and the live DVD in this package, but they’re different enough not to be redundant. Fun instrumentals include “Sweaty Knockers” and “Blues Fuckers.”

Jack DeJohnette – Made in Chicago
A giant in the jazz-rock fusion world, drummer DeJohnette was an early member of the venerated Association for the Advancement of Creative Musicians. This live disc finds him reuniting with old friends and musical associates including sax/flautist Henry Threadgill and ECM head Manfred Eichler (the latter mixed the recording). That said, this isn’t fusion; it leans in a much more improvisational/exploratory direction, with little in the way of rigid meter or conventional melody. Put another way, it’s the kind of thing that those who dislike jazz point to to support their view. Recommended for fans of the abstract and adventurous.

Chris Potter Underground Orchestra – Imaginary Cities
Another title from the venerated ECM label, Imaginary Cities often feels more like modern classical music (of a most accessible kind) rather than jazz proper. But as soon as one acclimates oneself to that style, the music shifts into some highly melodic movements that give the various players in this large ensemble their chance to shine. The expansive title track is a four-part suite that makes up the bulk of the disc, and it’s exceedingly effective at conveying a wide range of moods. Beautiful, contemplative stuff, Imaginary Cities is worth your undivided attention. A sublime triumph from start to finish.

More to come.

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