The saga of Charles Gayle is a long and winding tale full of highs and lows. The fluctuations are mostly not in quality (he has made just two subpar albums out of twenty-two he's led from 1988 on), but in media and record label attention to his talents. He was a big story in the '90s (well, on the NYC avant-jazz scene), often with weekly gigs at the Knitting Factory, but then he became dissatisfied with his approach and began experimenting, musically and in terms of presentation, withdrawing from regular performance while he did so. In recent years, he has been working on combining the precision of bebop with the intensity of free jazz. Read more »
We have been flooded with reissues of â€œforgotten psychedelic classicsâ€ in the past few years. Some of them are good, lots of them are fun, and many demonstrate why they were forgotten. Few are classics. Now here comes Drag City, a Chicago label more associated with the current alt-rock scene, surprisingly touting this extremely obscure 1973 psych-folk album by a New England hippie, Gary Higgins. Even more surprisingly, this IS a classic.
So how could the folks at Radioactive have missed it?!? One reason, perhaps, is that the only overtly psychedelic musical touches â€“ really pretty mild â€“ are a few keyboard riffs spiced by Terry Fenton with pitch slides (â€œIt Didnâ€™t Take Too Longâ€) and some creative organ registrations (check out the tinkling notes on â€œStable the Spudsâ€). Read more »
An intelligently constructed program, especially if it's based on a compelling concept, is almost as important to a recital album as the quality of the playing. Jenny Lin, one of the finest classical pianists in New York (and that's saying something), has a winning concept here. As Luca Sabbatini, the author of the program notes, writes, "small forms -- preludes, etudes, nocturnes, poems, character pieces, etc. -- often served their creators as a space which fairly encouraged aesthetic revolutions and other breaches of convention..." Listening to this mostly chronological program from beginning to end, one hears the piano's vocabulary expand radically over the space of 17 years. Read more »
Halfway through his fifth decade in the public eye, Wayne Shorter sounds like as much of a jazz giant as ever: a superb composer and the architect of an elliptical improvisational sax style that has grown more and more influential. It's the latter facet that is emphasized on this album of concert recordings from the past three years.. The formation of a new quartet has seemingly invigorated him, and Shorter clearly inspires his younger sidemen to take risks -- Danilo Perez, John Patitucci, and Brian Blade never seemed all that progressive before, and this is their most interesting playing. Read more »
Paul Anka doing a swing album of alternative rock songs turned out to be a bad idea, because the people involved didnâ€™t treat those songs with respect and/or understanding. Get this disk instead. Nouvelle Vague is a French band with two clever producers at the helm and rotating eight breathy-voiced female singers (supposedly picked because they were unfamiliar with the original versions); they play a series of familiar punk and new wave classics in bossa nova style. Every song remains immediately recognizable (not true on Ankaâ€™s album) and most are sung (or at times recited) quite earnestly, with the drastic exception of the Dead Kennedyâ€™s â€œToo Drunk to Fuck,â€ which is giggled through with full awareness of its inherent sarcasm and as an expression of the protagonistâ€™s inebriated condition. Read more »
Hands down one of the most intricately beautiful instrumental albums of the year so far. Jack Rose (of Virginia neo-psych band Pelt) is not only a guitar virtuoso of the highest order, an adept finger-style picker in the Rev. Gary Davis/John Fahey tradition (he covers the latterâ€™s â€œSunflower River Bluesâ€), heâ€™s an imaginative genre-hopper who â€“ like Fahey in his later years â€“ can make his acoustic guitar an instrument for meditative psychedelia, even make it sound like a sitar.
Aside from the Fahey cover, all eight tracks on this solo excursion are originals, starting out in a mostly traditional vein and then, on the second half of the disc, mixing in the raga influence on alternating tracks. Read more »
Well, the 9/15 concert. You see, Sonny Rollins was in his downtown NYC apartment on 9/11, and saw the second tower fall. After the area lost power and phone service, Rollins and his neighbors were evacuated the next day. His wife and co-producer Lucille (now sadly deceased) convinced him not to cancel his Saturday night concert in Boston. Read more »
This is not a split EP, but an actual collaboration between these two cult favorites. The founders of Calexico, John Convertino and Joey Burns, first worked together in Giant Sand in 1990. Calexicoâ€™s basically a roots-rock band, but takes in a wide range of other influences. Iron and Wine is basically a solo act (lately thereâ€™s a trend to using band names even if itâ€™s just one guy: Mountain Goats, Bright Eyes, etc.), Floridian Sam Beam, who writes lovely melodies set to quiet, acoustic music. Read more »
It's now an anticipated annual event when this trio reunites for a stand at New York's storied Village Vanguard. Saxophonist Joe Lovano and guitarist Bill Frisell are superstars, of course; some of their fans may not know why Paul Motian is billed above them. But some of the most imaginative jazz of the past five decades has been powered by this subtle, versatile drummer who's now 74 years old. Read more »