Musicology

quinta-feira, 15 de dezembro de 2022

Edgar Winter - Jasmine Nightdreams 1975

Not since his debut, Entrance, had Edgar Winter appeared in a solo capacity. This time out, he reverts to his heavy jazz and gospel influences to produce an album that merits much more attention than what it ultimately received. Winter is decidedly laid-back on tracks such as "Hello Mellow Feelin'" and "Tell Me in a Whisper," which serve as the finest of the nine tracks here. Winter puts on his party hat once again with the rocking "Out of Control," the final track on a pretty nice little rock & roll document. AMG.

Agitation Free - Last 1976

On the 1973 live album LAST, the final official release before Agitation Free's 1999 reunion, the group builds upon the psychedelic jams that characterized its two previous recordings, giving increased priority to slow-building electronic textures and soundscapes. Opening cut "Soundpool," the first of the album's three recordings, marries electronic orchestration with an extended guitar jam. "Laila II," originally from the 1973 album 2ND, is teased to epic length. Sidelong closer "Looping" is given over to hypnotic modulations, ending the first phase of Agitation Free's career less with a bang than a whisper, or a drone. AMG.

15-60-75 (The Numbers Band) - Jimmy Bell's Still In Town 1976

From the Rolling Stones to the White Stripes, plenty of rock bands have used the blues as a jumping-off point and messed with the form to make something new, but hardly anyone pushed the music into a more interesting and innovative direction while staying true to its roots as 15-60-75, a Kent, OH combo known to locals as "the Numbers Band." Led by Robert Kidney on lead vocals and guitar and Terry Hynde on saxophone (yes, he's Chrissie's brother), this band never lost touch with the deep hoodoo groove at the heart of the blues, but they pushed and pulled at the sound from all directions, with the rhythm section laying out a steady and propulsive groove, additional percussionists throwing polyrhythms over the bed, the sax players blowing as if possessed by King Curtis and Ornette Coleman at once, the guitarists exploring the cosmos, and Kidney declaiming like the last great undocumented beat poet. Jimmy Bell's Still in Town, the group's first (and arguably best) album, manages to capture the band in all their shapeshifting glory, and what's most remarkable is how incredibly tight and unified this band is -- while this music leaps through any number of hoops, nothing and no one ever gets lost in the shuffle and the musicians perform with an intense focus that's all the more remarkable when you realize this was a live recording, cut in front of an enthusiastic audience at the Agora in Cleveland one evening in 1975. Music this smart and adventurous is rarely as satisfying on a gut level as Jimmy Bell's Still in Town, and this is a razor-sharp fusion of jazz, blues, and rock that kicks like a mule and will let you shake your ass all night long. David Thomas of Pere Ubu, a major fan of the Numbers Band, once called Jimmy Bell's Still in Town "the only good album ever recorded by anyone," and while he's clearly exaggerating to make a point, there's no doubt it's a better record than whatever you're listening to right now. AMG.

Tom Waits - Nighthawks At The Diner 1975

Tom Waits' first two albums, 1973's Closing Time and 1974's The Heart of Saturday Night documented his estimable strengths as a songwriter, but they didn't always give much of a sense of the personality that came through in his live performances. In front of an audience, Waits transformed himself into something resembling a minor character from a Jack Kerouac novel, a witty but bedraggled hipster from the seedy side of Los Angeles. His third album, 1975's Nighthawks at the Diner, was designed to show off Waits as an entertainer as well as a tunesmith; producer Bones Howe set up a nightclub facsimile in a recording studio, paired Waits with a solid band of jazz-inclined studio musicians, brought in an audience, and recorded what was, in essence, his first live album. As entertainment, Nighthawks at the Diner is one of Waits' most thoroughly enjoyable albums. He's clearly jazzed by the presence of an audience, and his skills as a storyteller are marvelous. Much like Lou Reed's Live: Take No Prisoners, this is an album where the between-song patter sometimes outshines the songs, and there's no arguing that Waits is a very funny guy who plays brilliantly to a crowd, spinning eccentric, evocative tales of life on the bad side of town that make it all sound like a ball. The band is excellent, too; bassist Jim Hughart, drummer Bill Goodwin, pianist Mike Melvoin, and sax player Pete Christlieb give Waits the ideal three-a.m. ambiance to bring the songs to life. If Nighthawks at the Diner has a flaw, it's that Waits' beatnik spiel sometimes overwhelms the music, and a number of the "songs" are more spoken word routines than anything else. But "Better Off Without a Wife" and "Nobody" show he hadn't lost the ability to write a memorable song, sing it all the way through, and make it connect. And if this plays more like a "show" than a "concert," it's a show you'd gladly pay to hear more than once. Nighthawks at the Diner is a must for Tom Waits fans, and while beginners might not get as strong a sense of his music as they would from many of his other albums, it's hard to imagine anyone not being charmed by it. AMG.

Biff Rose - The Thorn in Mrs.Rose's Side 1968

The charm and appeal of Rose's debut album have dated. His straining voice can be hard to take, and the lyrics that might have sounded sly and subversive (like the cop in "Buzz the Fuzz" who falls in love with "Alice D" after starting to bust her for drugs) at the time can sound overly cutesy now. His words are often clever, though, and the arrangements, matching his Broadway-style piano to light Hollywood orchestras, have a greater attraction than those that simply let Rose play the keys alone. This is the Rose album that will interest Bowie fans and rock historians the most, as it includes the original versions of "Fill Your Heart" (covered by Bowie on Hunky Dory) and "Buzz the Fuzz" (covered by Bowie live in the early 1970s), and the approach and arrangements were a clear influence on Hunky Dory. AMG.

Baikida E.J. Carroll - Orange Fish Tears 1974

One of the better accompanists and section musicians, Baikida Carroll has added textures, colors, and bright solos to various free jazz ensembles and groups, among them the Black Artists' Group (BAG) in St. Louis. He's been an active composer, having written film soundtracks and scores and displayed a striking, full sound and solo approach. Carroll attended Southern Illinois University and the Armed Forces School of Music before directing the BAG's free jazz band. He went to Europe with other group members in the mid-'70s and recorded in Paris in 1974. Carroll's recorded with Oliver Lake, Michael Gregory Jackson, Muhal Richard Abrams, Jack DeJohnette, and David Murray in the '70s and '80s, as well as cutting a solo album in the late '70s and heading a combo in the early '80s. A 1994 session on Soul Note features Carroll in fine form with a quintet. Since that time, Carroll has kept busy performing and teaching and released the critically praised Marionettes on a High Wire on OmniTone in 2001. AMG.

Speed Limit - Speed Limit 1974

Speed Limit was a short-lived French Jazz-Rock band, based in Paris and led by Hungarian drummer George Jinda and featuring an all star-line-up, including Magma fellows Joël Dugrenot (bass) and Yochk'o Seffer (wind instruments) along with Gerard Curbillon on guitars and Jean-Louis Bucchi (electric piano). This quintet recorded and released the band's eponymous debut in 1974 on Le Chant du Monde.

Swegas - Child Of Light 1971

The English group began its creative activity in 1969. By signing a contract with B & C Records, they recorded their debut self-titled album at Advision Studios in London. However, the album's release did not take place. The group began rehearsing over new material in the London ambulance. Then they made a three-month tour of Europe, starting in Oslo on May 20, 1970. Returning from the tour, the musicians recorded the album "Child Of Light" at "Tangerine Studios", located in Dalston (the eastern district of London). The album was released in a small edition on the "Barry Class Record Company".

Continuum - Continuum 1970

Continuum was conceived in Holland by Hungarian multi-instrumentalist Yoel Schwarcz in 1967. After relocating to the UK they developed a unique brand of progressive music that was not never quite rock, blending in a lot of classical influences and diverse cultures. Continuum released 2 albums during their lifetime.

Culpeper's Orchard - Going For a Song 1972

Culpeper's Orchard was a Danish group formed in late 1969 by Londoner Cy Nicklin (guitar, mandolin, vocals), Nils Henriksen (guitar, piano, background vocals), Michael Friis (bass guitar, organ), and Rodger Barker (drums). Their first live performance was on January 30th, 1970. Cy Nicklin, who wrote most of their output sang in English, and the music was country rock/folk rock by way of The Band and Crosby, Stills, Nash & Young, with some progressive elements. For their second album, Rodger Barker was replaced by Ken Gudman on drums, and on their third album, Tom McEwan was the new drummer, percussionist, and sometime vocalist, and Niels Vangkilde had replaced Nils Henriksen on guitar. A new member was also Nils Tuxen on steel guitar.

In the mid-70s, after their third album, the group had trouble getting a recording deal but still played live at various events such as Roskilde Festival in 1974, 1976, 1977, and 1978. In 1977 their fourth, self-financed album All Dressed Up And Nowhere To Go was released under the shorter group name Culpeper, and showed a change in musical style towards progressive jazz-rock (Thomas Puggaard-Müller was new on guitar). Cy's brother Gary Nicklin produced and sang backup vocals. The album is regarded by some as being among the best in Scandinavian jazz-rock.

Downtrip - If You Don't Rock Now 1976

Formed in Brussels in 1969, Doctor Downtrip aka Downtrip debuted the following year with the single Gravitation/Music for Your Mind on the Vogue label, which attracted public attention. The songwriter was Dutchman J. Van Wagensveld, who never joined the band. In June 1970, Doctor Downtrip headlined the Puzzle P-festival at the famous Brussels club Rue De Bouchers. But the main event for the guys was the performance in August at Bilzen Rock & Jazz festival, which also featured Badfinger and Screaming Lord Sutch. Both festivals were attended by the group Burning Plague, whose member was American Michael Heslop at the end of the year joined Doctor Downtrip. In 1971, a group consisting of Hestri, Van de Velden, Heslop, Roryve and Paul participated in the Summer festival Den Haan and Jemelle festival, opening for Golden Earring and Genesis, and in April 1972 supported Genesis at their concert at Arlon. That same year, CBS Records released their second single, Take My Place/Depressed. Both songs showcased their true potential as a hard rock band with a beautiful guitar and organ sound. The single sold very well, as did Jumpin'' in the Air/Winter's Coming, which was released in 1973. They also performed with T-REX in March. A real gift for the fans of the group was the album Doctor Downtrip, which was recorded with the new vocalist Jean Paul Gousens. After the release of the single from the album at the beginning of 1974 in the camp Doctor Downtrip there was a lull, which lasted until the end of 1975.

The band returned to the scene with major lineup changes (Heslop and Paul left, and Lagger Blues Machine's Jose Guissett was replaced) and a new name, Downtrip. In 1976, CBS/Epic released If You Don't Rock Now, a self-produced album. The level of the group remained the same high, so they were welcome guests in rock clubs and at national festivals. The last album Downtown was released in 1979.

B.J. Thomas - On My Way 1968

On My Way is an appropriate title for B.J. Thomas’ third album, as this is the record that put the Texas singer on a path toward the top of the charts thanks to the hit “Hooked on a Feeling.” Buzzing with sitars and draped in strings, this single is a quintessential piece of late-‘60s pop and it illustrates how far Thomas had moved from the rootless roots music of his first two Sceptre albums. Surely, there are traces of that country-soul singer, particularly on the slow ballad “Four Walls,” but a better indication of where B.J.’s head is at is in his loungey replica of Jose Feliciano’s reworking of “Light My Fire,” and a super-smooth reading of “Smoke Gets in Your Eyes.” These two cuts are unapologetically adult contemporary, suggesting the direction he would later take in his career, but on the whole, On My Way doesn’t find Thomas idling in the middle of the road, preferring the paisley-colored pop of “Hooked on a Feeling” for the bulk of the record. “The Eyes of a New York Woman” is cut from the same cloth as “Hooked” -- appropriately enough, it’s written by the same songwriter, Mark James -- as is the beguilingly awkward stab at social relevancy “Mr. Businessman,” but this spangly production is also applied to the fuzz-guitar-and-organ ballad “Gone,” the syrupy strings of “Sandman,” and the tempered country-soul of “I Saw Pity in the Face of a Friend.” These are stronger songs than Thomas received on his first two records, and the production is richer, and more colorful, and it all results in his most satisfying LP to date. AMG.

domingo, 4 de dezembro de 2022

Galapagos Duck - Endangered Species 1974

Galapagos Duck is a popular Australian jazz band. The band formed in 1969 for the winter season at "The Kosciusko Ski Chalet, Charlottes Pass". Before it commenced a successful residency at The Rocks Push jazz club in Sydney. The band in 1969 was Marty Mooney and Tom Hare (reeds), Chris Qua (bass and trumpet), and Des Windsor (piano and organ).
Bruce Viles (owner of the Rocks Push) established The Basement jazz club at Circular Quay in 1973 and the Galapagos Duck opened there as the house band. At that time the personnel was Marty Mooney and Tom Hare (reeds), Chris Qua (bass and trumpet), Willie Qua (drums and reeds), and Doug Robson (piano).
Over the years the Galapagos Duck has enjoyed considerable success and some of the top names in Australian jazz have worked with the band at one time or another, including Dave Levy, Roger Frampton, Col Nolan, Paul McNamara, and Warren Daly.

Art Blakey & The Jazz Messengers - Free For All 1964

Free for All is a high point in drummer Art Blakey's enormous catalog. This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history. In the eight minutes of "Free for All," an emotional apex is reached that skirts the edge of free bop without losing Blakey's rhythmic glue. Another Shorter composition, "Hammer Head," is a mid-tempo soul-blues groove, with Shorter, Hubbard, and Fuller taking exceptional solos while Blakey keeps the mid-tempo vigorously swinging. Hubbard's "The Core," dedicated to the Congress of Racial Equality, comes close to capturing the heat of the title cut, as it contains similar fiery interplay. The session's closer, Clare Fischer's "Pensativa" (brought to the Messengers songbook by Hubbard), would remain a favorite with Blakey for years. A passionate Jazz Messengers workout that proves essential. AMG.

Bob Dylan - Self Portrait 1970

There has never been a clearer attempt to shed an audience than Self-Portrait. At least, that's one way of looking at this baffling double album, a deliberately sprawling affair that runs the gamut from self-portrait to self-parody, touching on operatic pop, rowdy Basement Tapes leftovers, slight whimsy, and covers of wannabe Dylans from Paul Simon to Gordon Lightfoot. To say the least, it's confusing, especially arriving at the end of a decade of unmitigated brilliance, and while the years have made it easier to listen to, it still remains inscrutable, an impossible record to unlock. It may not be worth the effort, either, since this isn't a matter of deciphering cryptic lyrics or interpreting lyrics, it's all about discerning intent, figuring out what the hell Dylan was thinking when he was recording -- not trying to decode a song. There are times where it's quite clearly played for a laugh -- if his shambling version of "The Boxer" isn't a pointed parody of Paul Simon, there was no reason to cut it -- but he's poker-faced elsewhere, and the songs (apart from such earthed gems as "Mighty Quinn," which aren't presented in their best versions) are simply not worth much consideration. But, in a strange way, Self Portrait is, because decades have passed and it still doesn't make much sense, even for Dylanphiles. That doesn't necessarily mean that it's worth the time to figure it out -- you're not going to find an answer, anyway -- but it's sort of fascinating all the same. AMG.

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