September 16, 2004
MUSIC // RESPONSE
So far this week I have purchased the following records:
Roscoe Mitchell: Sound LP
What a find. Man I love Twisted Village-- the finest record shop in the Boston area. Anywho, this is a monumenatal Jazz record. Roscoe Mitchell is perhaps better known for his work in the Art Ensemble of Chicago. A spiritual free jazz collective that much like their contemporaries --Alice Coltrane, Don Cherry, Pharoh Sanders, made music with acknowledgement to their ancestors in Africa and to Eastern thought. Transcendental would be a good way to describe it. Worldly another. Political without words. This lavish music would incorporate the instruments found in these people's travels. It didnt stop in Africa. Though Philip Cohran's On The Beach is a wonderful example of this. Take Don Cherry for instance --he traveled the globe. He had a large aresnal of woodwinds from around the world be it bamboo, native american, or indian flutes that he used regularly in his live sets. His Mu records do a good job of conveying this as does the amazing live Orient-- it even includes a gong. He was not the best musician of his contemporaries -- then again look at his contemporaries. But he made up for it with his ethos. He certainly was no slouch. Well getting back on track, this record is the first of release from the AACM Collective (Association of Advancement of Creative Musicians) that the Art Ensemble of Chicago and a surprisingly large number of jazz luminaries (Including Anthony Braxton) were a part of. However, this album is a point that leads up to this particular school of thought. This album is more spirit than spiritual. Which to me is a good thing. I love Les Stances A Sophie, but there is so much Art Ensemble I can stand. I will also take Pharoah Sander's Thembi over Kharma anyday as an example of my threshold. However many of the ideas that would be incorporated into The Art Ensemble of Chicago can be found here. It is a slightly more laid back free jazz record than outside the AACM. There is focus on playing as a group and interacation creating a "sound" as opposed to bursts of energy. But there is definitely plenty of build up found on this record. It is closer to the ethic of making art instead of a free jazz record. This is also one of the first free jazz records to incorporate non traditional instruments. You hear whistles, bells, and even harmonicas in this album to good effect.
Anthony Braxton: Anthony Braxton LP
Oh man, talk about a great essential free jazz finding day. Not only an original Roscoe Mitchell's Sound --but this gem by Anthony Braxton. On this album, a young, handsome Anthony Braxton was well on his way in cutting a path through the primitive savage jungle newly discovered by John Coltrane's avant-guard.
I still remember how a friend gleefully told me he was taking a course with Anthony Braxton at Wesleyan. It was the day he introduced me to Steve Reich. As would be our motif, he played me this bizarre minimal funky thing that was Reich's New York Counterpoint in a basement with us laying around in a stoner haze. I didn't know what the hell I was listening too. These little beeps swinging with momentum through each other, skipping and laughing like little kids. He told me that he was taking in all this intense music at school and that he was being taught by one of the greats. Then he played me Anthony Braxton's Sextet 1996. He just handed me the accompanying booklet knowing full well that there was no way he could explain to me what I was listening to. It was full of theories of time within time and diagrams of triangles within circles to explain it. I am not kidding. I was overwhelmed and happy.
Later that week I tried to find some cds by Braxton but to no avail. I turned to the net. I typed 'Anthony Braxton' onto Napster not expecting it to ever find any matches. In fact, I thought my computer would explode instead of ever finding anything by Mr. Braxton. But then 2 minutes later there it was: 18 Solo Compostions. I quickly downloaded this album and I made my way to Connecticut. I would always bring a backpack-full of cds to any visit I made and try to come up with reasons as to why each album I brought must be heard. I was particularly thrilled about this one because I knew I would impress him. So one Stoned Friday evening we were hanging out in his room. He mentions that he wants to put on some jazz, much to the dismay of everyone else. Free Jazz on a Friday??? So I play it. There was a smile on his face. We sit back and listen to Mr. Braxton blow. It is as if someone was paiting brushstrokes in the air. There was so much subtlety and feeling to these shreiks. There was something in there may it be pain, anger, confusion or euphoria. Its all intentional my friend would say. He tried to explain to me how each sound was deliberate and how to make a particular sound he was either using the reed a certain way, blowing into the sax in a particular manner or using certain fretting techniques. How I wish I could learn a lifetime of technique in a hour or even in the years since. So we sat back, following the sound. That is how I would always listen to this type of free jazz. It can very very strenous to do this with certain musicians. Ie. Peter Brotzmann. I always found it strange how it felt like a physical workout. I can honestly say I can come off this music panting sometimes. Again, look at Peter Brotzmann. I couldn't picture him any other way-- this squat muscular man with a beard. Nipples? Balls? No shit.
Just follow the sound.
A few weeks ago I read the liner notes to Albert Ayler's Complete Greenich Village Recordings and at one point Albert explained that that was how you were supposed to listen to him. Funny that even for a person completely uneducated in music such as myself, such things made sense. I mean fuck, the man himself told me I was right! Speaking of Ayler, is anyone else not completely creaming their pants for the Holy Ghost Box Set? I love going out of debt just to go back into it.
Getting back to the album, well this is not as free as the pieces in 18 Solo Compositions. It is an ensemble album. It sounds closer to his In the Conference of Birds which chronologically makes sense. Its a bit looser than that though. Like Sound, the musicians employ non traditional instruments to make sounds that fit the mood. Though no harmonicas in this album, it does use chimes and bells and taps by strange percussion to sporadically embellish the mood and mark passages.
Battles: B EP 12"
I have to admit, As much as I like what Battles has been doing (Tras EP and the C EP were awesome) I only really like the first track in this EP but BOY do I like that track. SZ2 is definitely a prime contestant for my 'Jam of the Year'. Being a Don Caballero fan, I was thrilled when I heard of this mysterious work-in-progress band. Going back to the Braxton name, I have to admit that there is something I don't get about Tyondai's abstract sound collages. I have been trying very hard to get into his solo record, History Has No Effect. However I think his electronics work well with Battles, more so when it is the whole group playing. As with Don Caballero, these boys love to show off their chops. SZ2 is just about how they can function with them being on different time phrases and as many tempo changes as they can. And of course make a jam out of it. I love off time drumming. Just a simple snare pattern working out of sync of the rest of the music is something I will never tire of. If you have ever heard Tortoise's Standards, the use of that as a segway between the first and second track is my favorite use of that technique ever. Its amazing how the Don Cab boys found a drummer in the same calibur as Damon Che. You can tell they are thrilled with not working with such a controlling person. Like Damon, the drummer directs the music, but his talent lies in his abilities with controlling space. Both in technique and in letting the other guys have a hold of the reigns. I have never seen Battles live but I can imagine that,like Don Caballero , these tracks are fully structured the way they are recorded. I particularly like how BTTLS are releasing EPs instead of a proper album. This seems to be a trend these days. Like with all the hip electtronic dance stuff such as the Ghostly, DFA, and KOMPAKT label 12''s. I personally think its great. Though I am skeptical of the full LCD Soundsystem album coming out early next year. There is nothing wrong with only being able to put out 2 or 3 quality tracks at a time. Plus it brings in a certain sinister charm. If I were to make music, it would be my these means. Oh, and how about the covers for these EPs, fucking beautiful.
Mclusky: The Difference Between You And Me Is That I Am Not On Fire LP
If you don't like this, you don't have any balls. No excuses.
Devendra Banhart: Nino Rojo CD
Dear Mr. Banhart: I hope that the line "counts his teeth to tell time." off your first record is a reference to St. Augustine's explanation of the definition of time and and the limits of our senses and our humanity and of the existence of God in another dimension outside the boundaries of time and space. Cause ya 'know, that would be cool.
Clear Horizon: Clear Horizon LP
Happy to hear David Pearce again. Last time we met we were both in bad shape. Though I won't go into any details, I remember a rainy night years ago outside my ex's apartment in my car, being way too intoxicated to drive and while waiting to sober up listening to Mirror and understanding what it is to lose your love, mind, and hope. So David, I am happy you are making music again and I am especially happy that you found a new lovely lady to do it with. Cheers.
Posted by Fran at September 16, 2004 03:14 PM