Imports
Eugene Chadbourne "Insect And Western Insect Attracter" (Leo)
I've read a lot about Chadbourne over the years, but not heard a lot of him, what I've heard I've liked though. He just does too much though. I've never known where to begin. This is as good a place as any I suppose.
A work in progress for orchestra, jazz band, eastern musicians, and banjo, this is a curious amalgam of Eugene's banjo plucking, balalaikas, flutes, bassoons, homemade electronic fx, horns, guitars, strings, cheap casios and more besides. And maybe its just the time of year, early spring, but sitting with a beer in the cool evening breeze listening to "The Mourning Of The Praying Mantis" - an ensemble piece where East meets West meets a voracious insect killer or the free jazz spams of "The Cricket In My Life" for Oboe soloist and ensemble it just makes sense. And I gotta say this makes me think of Darwin. Just the juxtaposition of the two two cultures (sometimes more) the music, the insectoid themes makes me think of that conservative exterior with it's myriad of cultures and mix of colour and music and art that at the time I basically ignored. But then 10 years ago I living in Darwin I wouldn't have even recognised the undercurrents that I now know were there. And I probably couldn't have listened to this album either, but I am now and I get the feeling I will be a lot more over summer as the heat and night encroach on my memories. I seriously doubt if thsi was Chadbourne's intent when he created this music but he's got to me anyway.
Reviewed by Kami
Chaplin/Tinkler/Rex/Lambie "The Future In
Today"
Jazzhead MUSH33082-2 Duration: 44:40 RRP:
$30
Tracks * One Up One Down * National Geographic * The Night Cart
Man * Life Cycles * Noazark * Ditty * Ven Conmigo Decapacito * Luc Warm * Spinning Topper
*
This Melbourne quartet - alto saxophonist Ian Chaplin, trumpeter Scott
Tinkler, bassist Phillip Rex and drummer Scott Lambie - features
quite brilliant tunes from all members, and a group concept that must be judged on
international levels.
Using straight four-four time infrequently, the band swings crazily nevertheless, in Afro
and funk feels, and in somewhat sinister compound metres. I don't know about you, but I
love things that hit, blam, and instantly fill your room with energy. I like the rhythms
to be flexible and even tricky, and the melodic approach to be open, thus allowing for
divergent paths, multiple levels, a sound universe expanding at different speeds. There is
much here that is also beautiful.
Quite frankly, I'd rather hear this than Wynton Marsalis any day. It has no dogmatism, but
a great deal of spirit. Sadly, only a select few will believe that it is as good as it is
- until such time in the future when it is reissued (like the music of Charles Munro).
Then we will marvel that Australian jazz was so good, but nobody knew about it.
Unfortunately the title is prophetic. I did read an excellent review of it by a Melbourne
rock writer. His readers won't believe him either.
Review by John Clare, Sydney Morning Herald newspaper
This CD was awarded the 1998 ARIA for jazz release of 1988. It
should available at all good CD stores or through Niche Records.
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Denis Charles IVtet : 'Captain of the
Deep' Eremite MTE09
Denis Charles: drums, Nathan Breedlove: trumpet, Wilbert DeJoode: bass, Jemeel Moondoc: alto saxophone. rec. May 9 1991, Eindhoven, Holland.
Here's a great unknown quartet recording recently uncovered from the coffers and released on the very excellent Eremite label, a new bastion for ecstatic American music. Legendary drummer Denis Charles has a long pedigree in holding down the chair for luminaries like Cecil Taylor, Sonny Rollins and Steve Lacy to name but a few. It's lamentable that this live festival recording from Holland represents his second-only as a leader, a misfortune made doubly worse by the sad news that Charles passed away a day before the release of 'Captain of the Deep.' Here was a musician of tremendous spirit and grace and this aptly-titled recording brings it right home to anyone with open ears. In the true spirit of jazz, the moment is what counts. This quartet made penetrating, soul-filled and plain beautiful music in its short life together, quite extraordinary that it should only see the light of day some seven years after its creation. Here it is at last, a thoroughly convincing and enjoyable journey to the heart of the improviser's spirit. Opening with the joyous traditional anthem 'We Don't',
Charles' quartet is immediately inside the heart of the music, the tune hearkening from the drummer's childhood in St. Croix in the Virgin Islands. To quote B. Coley's excellent sleevenotes, 'Moondoc and Breedlove achieve the rough and sanctified sax/trumpet interplay that was the Ayler Brothers stock in trade', Moondoc particularly inspired with endless unravelling lines which drip with the ache of the blues. He's a forceful player who blows hard and urgent through the horn and reveals a spirit which speaks straight to the heart. Breedlove's Cherry-inflected trumpet-playing is simultaneously bright and
probing and provides a true foil to Moondoc's muse. Bassist DeJoode happily provides a patient and well-earthed bottom groove and makes huge spaces for the horns to spiral over. He's a perfect match for the wise-in-time Denis Charles who keeps everything swinging from deep roots. This hour-long concert serves up six pieces of inspiration, sounding off with unity and commitment from start to finish. I know I'm going to be getting into this stuff for a long time to come. The avant garde (however dated the term) rarely comes as sweet and spacious as this. Denis Charles is one to remember, and this live document is a fitting reminder of a great musician who played great music.
Available direct from Eremite Records, PO box 812, Northampton, MA. 01061, USA or try through Birdland, 3 Barrack Street, Sydney, NSW, 2000
Reviewed by Matt Krieg
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New Releases
Billy Cobham "Focused"
Eagle Records D13964 Duration : 72'36" RRP: $30
Drum master Billy Cobham emerged in the early 70s as a driving force in the innovative "Mahavishnu Orchestra". After 3 highly praised recordings and a succession of concerts he began to record the first of many recordings under his own name. These featured not only his excellent drum technique, but also his own compositions. "Spectrum" (1973), recorded with his Orchestra partner, Jan Hammer on keyboards and the late guitarist Tommy Bolin, displayed his high energy approach to fusion music. What the recording may have lacked in finesse was soon made up for with great playing and enthusiasm from all assembled. In the intervening years has Cobham continued recording in this manner with different lineups and varying degrees of success.
Roll on to the late 90s and Billy has assembled a working band from all parts of the globe for his latest recording project, "Focused". Randy Brecker, trumpet, Gary Husband (who is also a fine drummer), keyboards , Carl Orr (who now resides in Sydney), guitar, Stefan Rademacher, bass join Billy Cobham for 4 of his originals plus an original from each of the members. Recorded in March 1998 at Wembley in England, "Focused" reveals Cobham's growth as a composer, drummer, musician and leader.
The CD begins with a funky composition by Cobham called 'Mirage'. 'The Sleaze Factor', a slower, more insidious funk tune which features some electronically enhanced trumpet from its composer, Randy Brecker, follows. The more acoustic 'Walking in 5' is a more relaxed tune for the ensemble to explore. 'How Was The Night?' by bassist Rademacher is a very in the pocket groove. 'Three Will Get You Four' is propelled by Cobham's insistent drums as the tune, rhythm and band move effortlessly between triple and duple time. Carl Orr's reflective tune 'Nothing Can Hurt Her Now' features some nice acoustic piano from Husband as he accompanies Brecker in a sensitive reading of the melody. Carl's excellent acoustic guitar solo on this tune is one of the highlights of the recording. Cobham' s final offering 'Disfigured Mirrors' is an interesting tune in an unusual time signature. 'Avatar' by Husband with its shades of 'Mahavishnu' arpeggiated sections and decidedly electronic approach brings the CD to an exciting close.
A fine recording by a band that has obviously worked together and also an excellent document of Cobham's recent "Focused"Australian tour. More information on Cobham and his recordings can be found on the internet at www.billycobham.com. Available at all good CD stores.
Reviewed by
Greg Fisher
Steve Coleman and Five Elements "Curves
Of Life"
BMG/RCA Victor: 74321-31693-2 Total Time: 78:07 Retail Price:
$32(Approx.)
"Curves of Life" is one of three CDs recorded live at the 'Hot Brass',
France between March 24th and 29th, 1995, with Steve Coleman's various groups. This is
probably one of the more accessible recordings the Five Elements have made, due, no doubt,
not only to the live nature of the session and the group's familiarity with the material,
but also to the reduced size of the group, which allows that bit of space required to more
fully appreciate the nature of this music.
Steve, in his position of moderator, is one of the more outspoken members of the
Brooklyn-based co-operative, the M-Base Collective (Macro Basic Array
of Structured Extemporisations) which was formed in the 80s. The 'M-Base
Collective' also includes (vocalist) Cassandra Wilson, (keyboardist) Geri Allen, (alto
saxophonist) Greg Osby, (trumpeter) Graham Haynes, (drummer) Marvin 'Smitty' Smith as well
as the regular members of Steve's groups. M-Base music promotes the use of rhythm within
each tune so that it becomes a more equal partner with harmony and melody in both
composition and improvisation. [Visit the M-Base site on the internet - http://www.m-base.com/ - for more information on the
M-Base philosophy.]
The group which appears on this recording features Steve Coleman (alto saxophone), Andy
Milne (piano and keyboards), Reggie Washington (bass) and Gene Lake
(drums). They are joined by special guests tenor saxophonist David Murray on two tunes and
rap vocalists Black Indian, Sub-Zero and Kokayal on the final piece.
There are seven tracks featured on this CD, beginning with 'Multiplicity of
Approaches (The African way of Knowing)' a modern, funky tune that seamlessly
becomes Jerome Kern's "All the Things You Are". 'Country Bama'
starts with a minimalist bass line and builds with the entry of each band member, until it
explodes with the addition of special guest David Murray and his concluding interplay with
Steve. "The Streets" features some street noises which become
the basis for a funky, laid back rhythm. This tune then becomes a version of Monk's 'Round
Midnight' featuring the same funky beat! 'Drop Kick Live' is a
more up tempo tune, again with a funky basis which culminates with some spontaneous
vocalisations from members of the band. The tempo slows down for a sax and piano duet on
the ballad 'The Gypsy'. 'I'm Burning Up (Fire Theme)'
features the band and all special guests on this very exuberant finale.
Steve Coleman's M-BASEd music, initially, was unfairly dismissed by many critics as little
more than sophisticated fusion. However, the continued development of his musical
philosophy over the intervening years has made that type of criticism difficult to accept.
"Curves of Life" shows his music to be contemporary jazz at its best, exploring
freedom within structure while utilising modern funk rhythms, irrespective of the
complexity of the harmonic structures or the melodic content. Definitely not easy
listening, but a CD with which to grow. Available as an import ($US13.50) or locally
through B# records.
Steve
Coleman
Reviewed by Greg Fisher
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