CRAZY ATES: 8 GREAT AVANT-GARDE ALBUMS

I love the avant garde period in jazz like none other. This is a branch of the music I admire, explore and study non-stop. There's just something so mezmorizing so many artists created or attempted to create in this music that I love so much. Here are 8 great classic albums that need mention. Of course I intentionally left out Miles, Trane and Ornette. They deserve lists all of themselves...here's to some lesser known or maybe more overlooked artists.

1.Albert Ayler: The Complete Impulse! Recordings of Live in Greenwich Village
Of course most avant gardist wouldn't have been who they were without the gospel according to Albert. His playing is the extreme, the out, the beautiful and the complete horrendous. Most people found and still find Ayler's playing hard to listen to. In fact I forced a class of unruly 8th graders listening to just one of these tracks for punishment on accounts of bad behavior. His playing is like hearing someone crying out in the middle of turmoil, which is probably why he was so active during the civil rights movement. His tunes could remind you of marching bands and classical ensembles all at the same time. Who knows what he would have accomplished if he had not died so young and mysteriously (his body would be found floating in the East River in 1970


2.Bobby Hutcherson: Dialogue
A great line up and great cover art. Dialogue was Bobby Hutch's way of saying that he was the official voice of avant garde jazz on the vibraphone. This album contains a who's who of top notch players including Sam Rivers, Freddie Hubbard and Andrew Hill. All the tracks are thrilling and of course ever searching, especially the title track Dialouge which is a true and literal piece. Check out Sam River's bass clarinet playing, too bad you don't hear much of it during this time period.


3. Andrew Hill: Compulsion
Along the same concept as Dialogue but with a personality of its own. Joined by John Gilmore (another great reed man, just check out His bass clarinet playing!) Freddie again and 2 african percussionists this album will have you listening over and over again. With only just 4 tracks each one pulls you in its groove. The addition of thumb piano, congas and other African drums to a standard jazz quintet will have your cerubelum freaking out.


4.Eddie Henderson: Inside Out
I know this is bias but I couldn't leave my man Eddie out. This recording is an extentsion of the Mwandishi band that he was in but not led by Herbie Hancock but Eddie himself. The tunes are all groove oriented, sparse in melody but extravagent in space, texture and vibe. Even the ARP Synthesizer sounds amazing 30 years later. Eddie's playing is reaching and full of great ideas.


5.Grachan Moncur III: Evolution
What do you get when you mix funky bluesman Lee Morgan with Bobby Hutcherson, Moncur and Jackie McLean? An album of surprisingly amazing music. Personally one of my favorite albums, Grachan doesn't get the props owed as the leading voice in avant garde trombone playing. His tunes are unique and original. Even Lee Morgan who was just getting back into the music scene after taking time off to kick drugs is searching and you wouldn't believe how at home he seems in this context, too bad he was never featured on more albums like these but with his Sidewinder album taking the jazz scene by storm months later its no wonder this little jewel in his work is overlooked.


6.Herbie Hancock: Empyrean Isles
Now argue with me or not this album is the quintessential 60's jazz album. It has a complex bop tune, a modal tune, a funk tune and a complete avant garde album known simply as "The Egg." Maybe the title was given to this song because once you crack it open and give it a listen you hear the wonder of Herbie's searching scheme. All players in this band are top notch and breath-taking. This album is one of my favorites I always come back to with a smile.


7.Booker Little: Out Front
What I love about avant garde albums is that they always have a play on words with "out" involved. Booker was too young when he left us, but he did leave a strong discography behind in his short 23 years of life. A classically trained trumpeter who is the missing link between Freddie Hubbard and Clifford Brown. When ever you listen to early Freddie on the album "Ole'" by Trane you can hear Little in his playing. Had he not died he would have been on so many more recordings. Out Front is a great album. Check out "Moods in Free Time" and then check out Dave Douglas' version and you will see that the things Booker did are so perfect.


8.Eric Dolphy: Out To Lunch
Probably the most cliche' album of this kind to put on here but it just needs a salute. The first time I heard "Hat and Beard" I thought my head was going to implode a la Scanners style. This album is the Sangreal of avant garde albums. H & B was also used in an insurance commercial I believe years back. Dolphy's playing is simply Dolphy: original and matched up with Hubbard is rewarding. I wonder what it would have been with Booker Little in the band. If you get any album of the avant garde, make it this one.

It took me 9 months to figure out the lead singer of the Mars Volta was a dood

Yes you read that title correctly.

It was nearly a year before I was able to figure out that the vocal abilities of Cedric Bixler-Zavala were so....so....on the scale of Mariah Carey.
Don't get me wrong folks I, like so many of you out there, am a closet fan of the Volta but come on it was hard to tell on their first album who that was leading on vocals if you weren't a pop punk/screamo fan of the early O's.
I was introduced to the band by a soon to be unmasked psychotic ex-gf but lets just say that the only good thing she managed to pull off from her very limited pot-destroyed-pea brain, was to play me De-Loused in the Comatorium.
I always felt the Volta were better at naming their albums than most progressive bands. I mean "Train of Thought"? what's next Artic Conundrum?? (thanks shane peters)
I really enjoyed Comatorium, it was unlike anything I had heard before. For me, it was a perfect blend of prog-punk-spacy-avant-garde-craziness that I had very little of in my CD collection back then. (at that time i was listening to mainly SKA...but don't tell anyone)
Their sophomore album, Francis the Mute was one of the most anticipated releases I ever encountered. A small band of college music geeks and myself talked about this album for months and could not stop talking about it after we had heard it. To this day it is one of my all time favorite albums. Once I heard the horns I knew this CD would always have a special place in my heart.
I enjoyed how this album seemed to be much more refined than the first and that the Volta were going in a direction I could really dig. I loved the blend of Spanish and English lyrics, the intensity of the opening track and the mellowness of the 3rd track L' Via l'Viaquez.
Then came 2006. After a mediocre-at-best live release, came the band's 3rd album: Amputechture.
What a disappointment. This album felt like a bunch of B side tunes all in 3/4 or some variation there of and put on the same piece of plastic and packaged as a Volta album. I tried over and over again to dig this album but it just sucked to me. All of the transitions felt choppy, if anything, it was a step backwards. This album should have been a demo to the first release. It probably either was that or the result of a pushy record company. Despite the 4 star rating from allmusic.com, I would have to give this album 2 breadsticks and that is generous.
To anyone who may disagree, I will say I plan on spending some time with all Volta CDs shortly, maybe I am wrong but as of right now: No, no I am not.
Then came the band's redemption: The Bedlam in Goliath. Now a lot of Volta fans gave up on them by the time of this 2008 release but I hadn't. They proved to me that they could make excellent music and one (and one live release) release that didn't live up two its predecessors could be forgiven. I enjoyed the band's 4th studio album. I thought it showed signs of healing, re-tweaking and getting back on course. I loved the effects of the radio static, it gets me everytime. This album gave me hope that there was still hope.
We will see if that hope delivers on June 23rd 2009 when Octahedron the band's 5th studio album is released. I have to say I am quite excited for this CD and hope that perhaps we may have another Francis the Mute on our hands.


Only a schizophrenic drug induced coma of progressive noise rock with effects on the vocals could give us any indication.

De-Loused in the Comatorium 5 breadsticks
Francis the Mute 5 breadsticks
Amputechture 2 breadsticks
The Bedlam in Goliath 4 breadsticks

Wow

So a blog I started following (http://elasticrock.blogspot.com/) has tons of bootleg recordings of the Mwandishi band led by Herbie Hancock in the early 1970's. Now anyone who knows me well knows how much I love this group. I became obsessed with them when I first heard their first self titled album. Once again, I first heard their 3rd release, Sextant and had no clue what I was hearing, so immediately I went back in their discography and listened to their first work and loved it. I even played the first track, Ostinato on my senior recital in college (unfortunetly i was unable to get as many vintage keyboard sounds as i wanted).
What makes this band stand out for me, is its searching, jam filled vibe. Listening to this band is like watching a transformer in slow motion. Every little change has so much meaning for the whole.
Mwandishi comprises a 6 piece band that features Hancock on various keyboards, Buster Williams on acoustic and electric bass, Billy Hart on drums with one of my compositional heroes, Bennie Maupin on reeds, Julian Priester, alto and tenor trombone, and my hero and mentor, Dr. Eddie Henderson on trumpet and flugelhorn with a guest appearence by Dr. Patrick Gleason on Moog and ARP synthesizers.
This band was the Mars Volta of their time. What they did in the jazz world was incredible. A unit that stretched every boundry and form.
They even play one of my favorite Hancock compositions, Toys which I recent put in my band's live book, and of course Ostinato which I only have heard on their studio release.

Also these past two weeks I bought alot of new albums including MMW's newest Radiolarians II and so reviews are heading the breadstick way.

First in a while

So this past week I did some thinking and would really like to add a section of the blog to the idea of a series of "best of's." I am a big fan of www.jazz.com's dozens column that focuses on the dozen whatever is the subject. In my great moment of being the sage that I am I decided on the "Crazy Ates"....i mean come on it goes well with the whole breadstick thing...get it? Ates, like 8 but a play on words for eating, as in eating breadsticks..eh, eh?? forget about it.
So you may hate the title but live with it. I decided that the first incarnation of the 8's would be a list of my favorite or in this case what I feel is the top 8 best trumpet solos performed by Miles Davis.
From his late 50's style which became much more energetic when he decided to form a sextet with cannonball, bill evans, trane, jimmy cobb, and paul chambers to his classic, searching, freer second great quintet of the 60's this was a time where 99% of the material coming out of Miles' horn was brilliant.


1. Straight, No Chaser from the album '58 Sessions:
This solo is a bridge. When I hear the opening lick Miles plays, I hear that the birth of cool days are past and the experimenting is on the horizon. Now this was a crucial year for Miles, in just months he would record his landmark album Kind of Blue, that is celebrating its 50th anniversary this year. Thats what most people think when they think about Miles's sextet but I like to think of this album as the tour for the album Milestones which would be recording afterwards in the same year. Milestones stands as a corner stone in modern jazz, an album comprised of great tunes and amazing playing from all 6 members.
I love that this has his very much used lick around this time period where he would smear a series of notes and then play short punching quarter notes (check out 1:20 for a great example)
Miles playing on this blues in F from the Newport Jazz Festival again is just captivating. Its brisk and mellow at once. It shows Miles' influence from Fats Navarro and Dizzy Gillespie but has that plays in the middle register, always cool and collected style that made Miles who he was, especially in the 1950's. This style is still emulated today, even by yours truly. A great piece of music.


2.Miles from the album Milestones:
Like I was saying, Milestones is one of my favorite albums. Its never end swing feel and its fiery approach is so mind boggling. Miles' solo on this modal track is one of the first solos I transcribed in college(of course after all the ones from Kind of Blue that all jazz musicians are expected to learn in order of paying some sort of dues to the jazz gods.)
This solo is mellow and well thought out. Its based on a series of motives or ideas that Miles expands upon throughout the solo. A great solo to hear for a young trumpet trying to get his feet wet!
I find myself relearning this solo every time I listen to it. The feel of rhythm section on this tune is outstanding. Especially the bridge where instead of a straight walking feel Paul Chambers creates an ostinato that grooves so hard.

3.Orbits from the album Miles Smiles:
It was very hard picking this track out of not only the 1960's Miles book but this track alone from its fellow tracks on this album. Miles immediately picks up energy and dexterity in this solo right after a brilliant melody by Wayne Shorter. As avant garde as this solo gets, it grooves so hard. Towards the end of Miles' solo he finishes on a motif that is the last few bars of the actual melody. I find myself humming it throughout the whole tune. This track is the opening tune to the album and I get so excited every time knowing, that so much good music is yet to be heard in the preceding tracks, Its almost as if this was Miles' way of introducing a whole piece of music that would just blow you away.
Miles was just getting over poor health and getting into the jist of his new and adventurous band and this solo is like a big "whose my bitch" punch to the nuts to the jazz world, reminding us that Miles was still the coolest mofo in jazz.

4. All Blues from the album Kind of Blue:
Of course you can not have a best of list without mentioning Kind of Blue. In true words, I actually hate talking about Miles in a formal fashion because you always have to mention this album. Don't get me wrong: it IS a masterpiece, but because I had to spend years transcribing it, analyzing it, and reading about it I ended up getting to a point where I didn't want to listen to this CD. I couldn't think of KOB as an album but this item that stood all by itself and needed to be listened to only in certain circumstances, wearing a radiation suit and having a Bible present. It took me from about 2006 to maybe about 3 months ago before I was able to sit with clearer ears and listen to this record. I remembered how much I love All Blues, what an incredible tune. It grooves with this mesmorizing vamp underneath a blues form. Miles's solo starts with a motif which is "sssoooo Miles" and it works. He bases this motif on three notes and he develops it, constantly playing these same three notes in different variations and I just love it. I find myself taking the same approach everytime I perform this tune. Miles was once again saying enough.

5. Agitation from the album E.S.P.:
This was the 3rd album I bought under Miles Davis' name back in high school. I remember getting it at the Virgin Megastore on a trip to NYC and listened to it on the train ride home. When I got to Agitation, I was so confused. It wasn't anything I had heard before. Of course though I was only 17 and had no idea what hell I was listening to....not the best album to start of on.
Miles comes in after a very well played solo by Tony Williams and just when you don't think about it, Miles creeps in on Harmon mute with that decending line that was to become the only part of the melody. After every other performance that would be the only reconizeable line in the whole tune. Its a free formed jazz odessy and it changes so much. After a medium opening, it begins to pick up the pace, only to come back to a slower medium tempo. Its a vehicle to play over and its amazing. Its surprising on an open form you actually hear Herbie comping behind Miles in a more open and loose vibe. Its more of a cause and effect that happens between the trumpet and piano. At one point Miles is just playing long flowing lines and Herbie just plays two chromatics behind me....gets me everytime!!
I love that every other performance of this tune is taking at break neck speed and sounds fresh even today but nothing compares to this.

6. Riot from the album Nefertiti:
OK so I have a little back history with this album. I bought this cd senior year from Phil, who looking back on this I think because even it confused and terrified him everytime he listened to it. Now this album is def not the first Miles album you listen to. For a pair of uneducated and immature ears this album freaked me out. I didn't know what I was listening to, and trying to play it cool when I got to college like it actually made sense to me. Its a chromatic/free orgy. Most tracks either have no piano behind the solos or don't follow the chord changes and to a 18 idiot, you don't pick up on that.
Needless to say, it was my favorite, because it bothered me so much. The track to stand out was Riot, a piece by Herbie, actually the shortest on the album. I love the melody and changing meter. Miles' solo is sleak, paced and hipnotic. It was the first point where I knew I wanted to sound exactly like Miles. The harmony behind him from Herbie Hancock is modal, only based on two scales and the bass and drums sound like an atmosphere for Miles to work off of and through.
Like I said this track is quick, Miles' solo is only about a minute long, but its art. I love when I realize its been a while since I last heard it and get to hear it almost for the first time again.

7. Flamenco Sketches from the album Kind of Blue:
This is by far the best song on this album. The best part is there's two versions so when you listen to it you get it twice. Miles's playing is so beautiful, exposed and thrilling. Everytime I hear this tune I get chills. Its wonderful and thats all that needs to be said. Listen to it for yourself if you need any more details.

8. So What from the album Live in Tokyo:
Best Performance of this tune ever. Miles is on fire and Tony Williams is right there with him. This solo represents that "out with the old, in with the new"playing you hear in the early 60's from Miles. You hear his classic sounds and licks but with a more pushing, reaching vibe. I can't get enough of the all out fury from him with Tony behind him. They play off each other in incredible form and to top it off at a blazing tempo. Of course we get the added bonus of the only time Sam Rivers recorded with the band. Sam is one of my favorite tenorman and what a treat hearing him in this context. Happy Happy Joy Joy

CD Review

Jackie McLean
"One Step Beyond"
Blue Note Records April 30, 1963
re-issued 2009


Recently I picked up a few blue note reissues. One being the album named above. I once heard this disc before when I picked up "One Step's" follow up, Destination Out and didn't really pay any attention to it and come to think of it, I don't know why.
Anyway this album is during that fruitful era in the early to mid 60's where Jackie McLean was releasing alot of great material with various line ups that are all classics. At this time, Jackie mentioned he was looking for a new sound. He was heavily influenced by Ornette Coleman around this time and would even get lessons with the Godfather of the Jazz Avant-garde, also having Ornette play trumpet on an album during this era.
Jackie assembled a band of Blue Note alums including: Bobby Hutcherson on vibes, Grachan Moncur III on trombone, Eddie Kahn bass, and Tony Williams on drums who would be joining Miles Davis 2 weeks from the this recording session.
The album begins with the medium-up tempoed Saturday and Sunday which has a solo section much similiar to the tune "So What." Its a nice touch of the early 60's sound of breaking away from traditional chord changes and into freer soloing.
The two Moncur originals, Frankenstein and Ghosttown are the highlights of the album. Frankenstein is a medium waltz and has an enjoyable melody. Grachan's soloing and writing are really highlighted in this tune. Its definitely one I plan to transcribe and learn myself. The other tune, Ghosttown reminds me of the tracks from Moncur's album, Evolution. Its an open and spacey tune that invites searching and development from all members of the band. Tony Williams is only 17 or so when this is recorded and his playing blows you away. Listen to the fills he puts in between the melody in the beginning of the tune. Bobby Hutch once again does an incredible job in the harmony and supportive departments.
I like this album because its during one of my favorite periods in jazz, where the music was starting to really search. I love this line up, its pretty much just missing Lee Morgan and it would be the Evolution album band all over again.
Either way this album is not essential unless you are a fan of Jackie McLean, this band's other output or just jazz in general.
4.5 breadsticks

Hi

Check out my newest demo recordings. Hopefully a full length album is in the works for the summer
love Nick

www.myspace.com/nickdimaria

Bandwagon here I go,,

So my list is like Jamie's; more a 25 albums I obsessively listened to this past year.
25.Strung up-String Fingers
24.The Musing of Miles-Miles Davis
23.Quintet-Hank Mobley
22.Early Reflections-Bennie Maupin
21.Zaebos-Medeski, Martin & Wood
20.Kneebody-Kneebody
19. Med Sud I Eyrum Vid Splium Endalaust-Sigur Ros
18.Persistence-Joe Magnarelli
17.Pass It On-Dave Holland
16.Iron Man-Jim Rotondi
15.Dance Like There's No Tomorrow-John Ellis & Doublewide
14.Raw Power-The Stooges
13.Radiolarians-Medeski, Martin & Wood
12.Somewhere in the Between-Streetlight Manifesto
11.McCoy Tyner Quartet-McCoy Tyner
10.Vampire Weekend-Vampire Weekend
9. Dave Douglas & Keystone Live at the Jazz Standard-Dave Douglas & Keystone
8.Chulahoma-Black Keys
7.Song of Songs-Woody Shaw
6.Dear Science-T.V. on the Radio
5.November-Jeremy Pelt
4.Self-Medicated-The Slackers
3.Stay Positive-Hold Steady
2.Attack & Release Black Keys
1. Evolution-Grachan Moncur III

my 2008 top 25, super lazy comparative version

Since Jamie weighed in, here's my top 25 list again, this time in an easy-to-read list so that they can be compared.

25. Lykke Li - Youth Novels
24. Grouper - Dragging a Dead Deer Up a Hill
23. Crystal Castles - Crystal Castles
22. The Hold Steady - Stay Positive
21. Women - Women
20. Sigur Ros - Med Sud I Eyrum Vid Spilum Endalaust
19. Department of Eagles - In Ear Park
18. Sun Kil Moon - April
17. Shearwater - Rook
16. The Dodos - Visiter
15. Esau Mwmamwaya and Radioclit are The Very Best
14. Vampire Weekend - Vampire Weekend (in retrospect, this probably should be higher).
13. Fucked Up - The Chemistry of Common Life
12. Frightened Rabbit - Midnight Organ Fight
11. Gang Gang Dance - Saint Dymphna
10. M83 - Saturdays=Youth
9. Atlas Sound - Let the Blind Lead Those Who Can See But Cannot Feel
8. TV on the Radio - Dear Science
7. Deerhunter - Microcastle/Weird Era Cont.
6. Hercules and Love Affair - Hercules and Love Affair
5. The Walkmen - You & Me
4. Fleet Foxes - Fleet Foxes
3. Portishead - Third (isn't it ironic that this is #3???)
2. Cut Copy - In Ghost Colours
1. Beach House - Devotion

25 Things That Are Certainly Better Than Pizza Hut Tuscani Pasta

My contribution to this blog has been minimal, near nonexistent. And given my employment status it would be mostly impossible to tell you I'm too busy to contribute. Well here is something, finally. I ditched my original reviews because I had only done the first five or so. Plus I was drunk when I wrote them. Incidentally Kings of Leon had been ranked too high. So instead we have a top 25 list.

Sorry there is no justification for these picks. Hopefully some explanation for my taste will become apparent through future posts. Also, I'm aware that at least two of these were released in 2007.

25. Death Cab For Cutie – Narrow Stairs
24. Kings of Leon – Only By Night
23. The Mars Volta – The Bedlam in Goliath
22. My Morning Jacket – Evil Urges
21. The Walkmen – You and Me
20. Adele – 19
19. MGMT – Oracular Spectacular
18. Sigur Ros - Með Suð Í Eyrum Við Spilum Endalaust
17. She & Him – Volume One
16. Santogold – Santogold
15. Blitzen Trapper – Furr
14. M83 – Saturdays = Youth
13. Atlas Sound – Let the Blind Lead Those Who Can See but Cannot Feel
12. Vampire Weekend – Vampire Weekend
11. TV on the Radio – Dear Science
10. The Black Keys – Attack and Release
9. The Magnetic Fields – Distortion
8. Cut Copy – In Ghost Colours
7. Fleet Foxes – Fleet Foxes
6. Flying Lotus – Los Angeles
5. Fuck Buttons – Street Horrrsing
4. Sun Kil Moon – April
3. Beach House - Devotion
2. Deerhunter – Microcastle/Weird Era Cont.
1. Bon Iver – For Emma, Forever Ago

Jeremy Pelt at Smalls

Another concert review/author's thoughts but this time on trumpeter Jeremy Pelt, who in the last 2 years has gone from occasional sideman appearance to consistent choosing from my CD rotation. I first heard Jeremy Pelt by complete coincidence. I was late seeing the Village Vanguard Orchestra and a few friends of mine decided instead to check out what was happening at Sweet Rhythm down the street. Turns out it was a random pick-up band consisting of current working cats just playing standards and jamming. As a jazz performance major, it was quite a treat just to hear some real working musicians blow over classics such as "There is no greater love." From 2006 on I started picking up JP's albums. I can't quite remember as to how I found out about this first one I picked up which just came out, called "Identity" (probably looking through jazz times or downbeat issue). I became completely hooked on it either way. The album was primarily a trumpet/keys/bass/drums album with augmentation of vibes, guitar and bass clarinet on various tracks. It then became one of my favorite albums ever. Later he released an 'electric' album recorded live at Smoke Jazz club in NYC. It was interesting because he played/recorded about 4 tunes from the Identity album with his same quartet but JP was playing his trumpet through an effects board and added guitar. It was really enjoyable to hear a related yet different approach to his music and playing.
Around that time JP was invited to perform with my other two fav's on the horn: Dave Douglas and my teacher Dr. Eddie Henderson, who has been especially influencial on me as a musician and artist. They should have renamed the show as "The Nick Di Maria Orgasm Fest" because I was in utter euphoria sitting and listening to these guys play. I even went to the show by myself because I couldn't get anyone to go with me, sat in the front row and took in as much as possible.
A highlight of the night was being introduced to JP and Dave Douglas by Eddie personally. It was like meeting George Washington, Abe Lincoln and Teddy Roosevelt at once...and if they were trumpet players. (I hear Andrew Jackson though, was quite the sack butte player) Before the beginning of the second set, I enjoyed a few of the most important moments of my life sitting at the bar inbetween JP and Eddie. They were sharing stories about various musicians and such, letting me in on all the inside details of player's lives...like how Freddie Hubbard would fuck a mother fucker up at a concert he played with Woody Shaw in the 70's or something. (that mo-fo was infact Woody he was refferring to)
At one point Eddie got up to use the bathroom and I was left sitting with JP who was just sippin' and looking forward when all of a sudden he turns to me and says: "So what horn do you play?" I don't remember what I said exactly, but I am sure I sounded retarded. I told him I was actually shopping currently and he recommended the horn I play now to me so thanks JP.
Flash forward to last saturday 1/31 at Smalls. I took my lovely girlfriend to catch the band and by band I mean JP's new quintet that released the album November last July. It was quite the show. They opened with the second track on the album: "Avatar" which is a highlight on the album itself. The sideman presence of J.D. Allen were imactculate. The two horn men resembled Miles and Wayne with their interweaving lines. The band also showcased the tune 466-64 which is a tribute to Nelson Mandela's prison number. The tune is a great work out over a modal vamp, and gave pianist Danny Grissett a moment to shine. The band handed the spotlight over to drummer Gerald Cleaver on the tune Monte Cristo which was written under the influence of Pelt's recent trip to Africa. Pelt's playing throughout the first set was stellar. His playing isn't about notes and chops as it is about music. You hear his influences, Booker, Miles, Freddie, Woody but you hear an original voice that is so enoyable and influential. It will only be a matter of time when JP stops winning the best up and coming trumpet award to best trumpet award in the jazz polls, and hell, he's going to have his number of composition awards as well.
Unfortunetly we had to leave in the middle of the second set due to the fact we had to make the last train out at 2 am, so I am hoping that I didn't miss my favorite tunes of his, Eddie's Story and Suspicion, from the Identity album.
Jeremy Pelt 5 breadsticks
Indentity 5 breadsticks
November 4 1/2 breadsticks

yeah monkey, GIG some!: Los Campesinos! and Titus Andronicus at Club Dada, 1/31

(Talk Soup reference, anyone? see bottom if you don't get it.)



A respectable mix of whippersnappers and older indie enthusiasts crammed around Club Dada's stage on Saturday night for powerful sets from both Jersey's Titus Andronicus and Los Campesinos!, Wales' surnammed counterparts to the Ramones. I kept hearing that Dada's stage was incredibly tiny, and yet all 7 of LC! felt comfortable in their own personal sqaure foot (with the exception of Gareth, who finished the set with each foot on a monitor, stood up tall).







Considering the differences in their sounds and styles, TA and LC! matched each other in energy and drive for their material. I was particularly impressed with Titus Andronicus, who payed past the fuzziness of their debut record as frontman Patrick Stickles took chances seemingly beyond his vocal abilities. Highlighting the set was a medley of tunes amounting at times to high school-level drama in its most epic form ("you'll always be a loser" seemed an endless chorus). Though the audience didn't flock to the floor for TA, the band slammed through their catalog quickly and seemed to make believers of those listening.





Los Campesinos! were equally on point, finding few moments necessary to catch their breath. As with a group of their size, instruments popped in and out of the mix, with Gareth Campesino's vocals. somewhat shoddy for brief stretches and probably overshadowed slightly by Stickles in the first set, sitting atop as the consistent peak of the sound. Maybe he was fazed by just how many people were singing along. I know I was: Los Campesinos are no flash in the pan, but their emergence has been quicker than most realize, probably because they released two LPs last year. After their set, a fan commented that they "wish it could have gone on for another hour." Does she realize that they just don't have any more material yet?










AS PROMISED:

pick six: reel big fish

When it came to ska-punk in the late 90s, I didn't get nearly as deep into it as Nick did. Still, there was something that Reel Big Fish did at that opening break of their lifespan that was so...right. I wonder how long it will be until we see another band that could so succintly point out the shortcomings and atrocities of the mainstream while sneaking through its own back door. In honor, here's six of my favorite tracks the RBF laid down before I graduated from high school.


Trendy
All I Want is More
Turn the Radio Off (1996, Mojo/Jive)



While "Sell Out" put the band on MTV and probably built the newer half of their fanbase in the mid 90s, it takes the second track, "Trendy", to get me into what RBF are all about. Beyond the non-conformist message, a hodgepodge of bright horns, bursts of rockabilly guitar, slap bass, and a closing raspberry are telling of the carefree-with-an-edge mentality the band often portrays. In regards to "All I Want is More", just think about when mainstream rock was less about fame and money, and perhaps more about getting chicks, or telling them off after you got them.


Unity
Keep Your Receipt EP (1997, Umvd)


Sooo, Keep Your Receipt sucks. Considering that nearly all of it's material can be found on Everything Sucks, it's nearly worthless with the exception of this Operation Ivy cover. Besides presenting RBF's tightly constructed ska formula under someone else's material (which will come up again), "Unity" introduced many ska-punk bleeding hearts to the artistically tragic story that was the rise and fall of Operation Ivy.


Thank You For Not Moshing
I Want Your Girlfriend to Be My Girlfriend Too
Why Do They Rock So Hard? (1998, Mojo/Jive)


It wasn't an earth-shattering moment, but it was still pretty damn cool that a band could call out bozo fans, probably including some from their own shows, for the moronic habit of moshing. The attention to detail in depicting the mosher and their ignorant tendencies just help to sharpen the edge of RBF's cutting sarcasm. A tune like "I Want Your Girlfriend..." puts the most emo of emo making cash off their bleeding hearts to shame. This lightly succinct statement of jealous lust of the halls of high school makes you realize that, for most of us, chasing girls around can be a zany operation.



Take On Me
Basketball soundtrack (1998, Mojo/Jive)


This is probably my favorite example of the powerful front the RBF horns brought to the party (two trumpets and two trombones (NO SAXOPHONES), I don't know if that's how it is now), although the brass musician part of me is pretty cynical about how good the studio is making them sound. They take ska/punk seriously, with great attention to detail in recasting one of the 80s' greatest songs.

heavy rotation: a big month for A bands/artists

I'm not sure if you've noticed, but January has been a big month for bands and artists starting with the letter A. My heavy rotation for this month has been dominated by the First Letter of Vowelness, with an easy-to-guess, prestigious act at the very top...



Animal Collective - Merriweather Post Pavilion
FIVE BREADSTICKS (and sommathat marinara sauce, B)

Indie's consummate example of accessible weirdness has produced a tight record that is astoundingly affecting. The internets are already abuzz with this "audience friendly" release, but I find more merit in the evolution of AC's sound from scrappy campfire obscurity to a cohesive sound that is still worthy of the word "collective". Perhaps most hope that MPP will introduce the more eclectic pop music fans to AC, but beware that "audience friendly" and "tight band sound" are often the precursor full-blown media attention and a fast track to arena-rock stardom. Luckily, those who know enough about the work that AC do can rest assured that it's probably not in the cards.

What I'm enjoying most about this record is how the vocals have been neatly framed by the overall texture Animal Collective has pursued, even hinted at throughout 2007's Strawberry Jam. Listening to the new record back-to-back with their recent live shows in New York (find them at archive.org FREE!) reveals few differences in the amped-up swell of their current pursuit of sound. The days of hissy-tape loop percussion might be over, but rather than trading in their roots for fresh digs, Merriweather Post Pavilion presents moments of clarity where the vocals of Panda Bear and Avey Tare gloriously intertwine above magical soundscapes.

Plus, that album art is bananas.

"My Girls", second track from Merriweather Post Pavilion:




A. C. Newman - Get Guilty
THREE AND A HALF BREADSTICKS

I think what I liked about this record is just how stripped down it sounds - compared to what else is out there, it's always nice to hear some keen songwriting showcased by a band that seems down to earth. I'm sure it only seems that way, but I'll take it. The video below showcases them as a sort of less frantic Arcade Fire. I guess. I'm only good at describing bands by comparing them to other ones.

"Like a Hitman, Like a Dancer", third track from Get Guilty:




Antony and the Johnsons - The Crying Light
FOUR BREADSTICKS

It can be hard to work through music on this level of sensitive intensity, and yet each time I approach Antony's work I barely even notice my guard coming down. Whether as the mouthpiece of DFA-dance giant Hercules and Love Affair or the spell caster at the front of the Johnsons, everything Antony touches seems instantly unforgettable or perhaps dismissed as fluffy trash. You be the judge, I guess.
Antony and the Johnsons on Myspace.

Everyone's Doing The Fish...Yeah, Yeah, Yeah

So last Friday, 1/23, was the return of Reel Big Fish at Toad's Place here in good 'ol New Haven. Now most who know me, know i was deeply involved in the Ska Revolution of the late 90's and even played in a band in the ill-fated 4th wave revival of the early O's, which was really just a revival of 3rd wave ska so really it was more like 3rd wave take two, or even 3.5rd wave. Either way aside from a collection of bands you can literally count on 3 fingers I really haven't been keeping up with bands that have managed to stay above water for the last decade. When I left the scene it seemed if you didn't incorporate hardcore punk into your music consistantly you would never find your voice in the scene. I watched in 2005 as band after band flopped and or did not reach the bar set by other bands.
Personally I am very proud being from CT when it comes to Ska. We had some of the best bands in our tri state area: Edna's Goldfish, Step Lively, J.C. Superska, Professor Plum, Kicked in the Head and of course Spring Heeled Jack. The West Coast may have had the pop hits, but the East Coast had the spirit and raw power of Ska. Unfortunetly the cancer called hardcore infected so many bands, including mine. Hardcore is a fine edge sword, two little and you sound scared to rock out on the occasional break down two much and you sound God fucking awful like a particular band I was lucky enough to quit before the power of the Dark Side fully engulfed.
So starting in college RBF always made an early spring or mid winter appearence at Toad's and my friend Steph and I always went. As the years went on we noticed that RBF's albums were getting progressively less acceptable and the audience was getting younger which any concert goer feels when they go to see the band they grew up with and see fans who were born after the band's first album was released (in 1996).
This year after some time apart Steph and I along with a motley crew of vetern scensters went to check the show out. One of the opening bands was Streetlight Manifesto, one of the 3 bands I listen to. This band has been able to keep a modern take of the 3rd wave sound and make it sound fresh. When you listen to this band you know you're listening to a band of today but but hear where these guys came from. The lead singer whose name escapes me, was the original voice of Catch-22 (another band that should be put down) and his writing style of loading that hand gun for the last show down you know you're going to lose is still strong as ever. He's backed by a 4 piece horn section that sounds like a force to be reckon with. As a trumpet player I awe at their tight and intricate horn lines in the songs. Sometimes it seems like the horns are the focus of the band. I strongly suggest getting their newest album: Somewhere In The Between. One of my top albums of 2007.
The Fish took the stage and I wasn't sure what to expect. It was either going to be a 2 hour set of new junk or a night filled with old material. What I got was a perfect mix of old classics, not too shabby new tunes and plenty of cheap PBR. I heard almost every tune I wanted to hear, from the emo lovers in all of us, "Dateless Losers" to the "Fuck You" spirit of "Sell Out". When the cried shouted for Beer, the song, the band proudly responded with "Shut the Fuck up we're getting to it" and then proceeding to play a different song before playing Beer in that RBF charming style we all love.
The show stopper of the night, and I can barely figure how I'm going to write this was the biggest surprise. In the middle of the show RBF broke out with the tune Veronica Sawyer, a tune from Edna's Goldfish second album. I immediately started freaking out and punching my brother next to me in the arm. Now I don't know if RBF incorporated this song into their book and new idiot fans think its their song or if it was a homage to the east coast or just to old school ska but it was an incredible moment. The crowd was shouting the words back to the band including yours truly. Quite a moment for a genre barely hanging on to its classic roots.
For every new tune they played it seemed like they backed it was a RBF classic and once a band gets to a certain it has to understand that the crowd wants to hear those songs you're sick of playing. They need to remember that is why we loved you guys in the first place, embrace your sound and for RBF be proud you lasted as long as you have not too many bands can say that, you might be the only one who can.
This show was already one of my 2009 highlights and I am sure I will be reposted this post come year end time. This band has never lost its fuck you mentality that so many kids related to ten years ago and today. And as they say " You know its really great, to punch somebody right in the face."
Thank you Reel Big Fish, you have redeemed yourselves to me. I hope that we continue to make beautiful music together

and thank you for not moshing.....

binge and purge: my 2008 favorite records, #10-1

10. M83 - Saturdays=Youth (Mute)
Here's a secret: I HATE the music of the 80s...well, most of it anyway. I've enjoyed M83's past records, but on Saturdays=Youth they seem to have taken the sheen, the very breathless finish from the best of that decade and stamped it onto their own achingly beautiful pop songs. The best M83 record yet.



9. Atlas Sound - Let the Blind Lead Those Who Can See But Cannot Feel (Kranky)

This is the record that will probably sneak up this list as time goes on. As much as I enjoy Deerhunter, this alone-in-a-bedroom headtrip is just as good as the records by Brandon Cox's full band. Cox is criticized for trying too hard, but Let the Blind... shows that his effort lies less in tinkering with his material and more with pushing his gargantuan sounds on the listener a little too eagerly. His music doesn't develop; instead it hits the listener like a ton of bricks. Very loud, fuzzy bricks.



8. TV on the Radio - Dear Science (Interscope)

Ba ba baaa baaa baaaaaaa ba ba ba baaaaa better than Return to Cookie Mountain.




7. Deerhunter - Microcastle/Weird Era Cont. (Kranky)

Like many, I was confused when Pitchfork drooled over Cryptograms, a record that seemed to glue a psych noise record and a psych pop record together and place it on the platter. A much nicer balance is achieved with each of these records, especially on Weird Era Cont., as the noise jams stretch out while the pop tunes keep the disc buoyant. "Operation" might be my favorite non-single tune from 2008.


6. Hercules and Love Affair - Hercules and Love Affair (Mute)

Indeed, HaLA is quite a motley crew, but their focused efforts hit the mark on each and every track on the self-titled debut. After a while, you realize how much this cruises as a dance record, when less intelligent acts might resort to an abundance of techno freakouts.

5. The Walkmen - You & Me (Gigantic)

WOW. I sort of gave up on The Walkmen after Bows and Arrows, a record that defined the bands sound and showed it to have extreme limits. You & Me eclipses the past discs effortlessly, especially in terms of songwriting. Never strained but always reaching.



4. Fleet Foxes - Fleet Foxes (Sub Pop)

Immediately likeable, I can imagine how pretentious Fleet Foxes could be. Yet when you see them play (as much of America did a few weeks back on SNL), I can't help be convinced that these guys just crawled out of the woods or something. It's like a deep woods version of CSNY.


3. Portishead - Third (Mercury)

THEY'RE BACK THEY'RE BACK THEY'RE BACK!!!

Why doesn't this record sound like trip-hop?

Nevermind - this creepy psych-rock thing is just as good. Makes me look right past some of the 8th-grade-notebook lyrics.


2. Cut Copy - In Ghost Colours (Modular Interscope)

I smiled more while listening to In Ghost Colours than at any other time during 2008.


1. Beach House - Devotion (Carpark)

2008 was not one of my better years. Anyone who has spent at least an entire year in a transitional state could tell you just how unnerving it could be, or how much of a constant downer it is. Yet with all of the beautiful records on this list (and those that just missed it), only Devotion felt immediately sincere, incredibly arresting, and ultimately nurturing.

AND WITH THAT, it's 2009. So excited about the new releases already out this month...can't wait to drop some knowledge on Jamebo and Nickster.

I would like to mention an album of 2008 that is one of my favorites that probably won't be listed on any other lists anytime soon.
The Slackers "Self-Medicated," the 13th release by the "Unknown Kings of Rocksteady," brings one word to mind: consistent energy. In the many years I have been following the Slackers, including a 3 month trial period playing trumpet alongside saxophonist, composer Dave Hilyard, for many years now and have always thought that this band has never failed to deliver. This album is no exception, with the title track a salute to the beaten soul: "My favorite medicane is whiskey and weed," to the head bobbing skank inducing number Every day is Sunday, you can't help but smile and feel great when this album plays.
A track I loved from the get go was "Don't You Want a Man Anymore" which is a dedication to anyone left behind. It has a simple message and a catchy and very bluesy horn line that you feel inside. You find yourself humming the tune driving in the car. "Don't Forget The Streets" is your standard Slackers tune about roots and rebellion. "Stars" is a new twist by the band. It seems that every album they branch out and try something new and this tune, more like a Paul Simon lullaby is a wonderful addition. The only tune I don't like is Don't Have To" which feels like the band was accidently booked to play at a Fireman's carnival opening for Spinal Tap (before the puppet show).
This band is always tight, creative and enjoyable. This album might not be the next leading force in the indie avant garde or the new pop phenomenon but this album is just F-ing fun and thats all you need to get your toe tapping sometimes.

binge and purge: my 2008 favorite records, #20-11

20. Sigur Ros - Med Sud I Eyrum Vid Spilum Endalaust (XL)

I do love me some Icelandic gibberish. I don't like me some naked mens' hind quarters on my covers, but I have been able to get past that. For some tunes, including the showstopping "Gobbledigook", Sigur Ros have created their tightest pop-esque hits to date. There's still a heavy dose of their gigantic aural splendors, but it is nice to hear them try their hand at something beautifully straightforward.


19. Department of Eagles - In Ear Park (4AD)

Bad things about 2008: there was no new Grizzly Bear record. Good things abut 2008: there was still a Department of Eagles record. I can hear the difference between the two groups, and they're not quite as obvious as those between Okkervil River and Shearwater, but I'm not complaining. Beautiful folksy rock from one of music's "not overdone-not slap dash-just right" musicians.



18. Sun Kil Moon - April (Caldo Verde)

I barely noticed that the opening tune was about ten minutes long. The Sun Kil Moon project shows that you can make pretty rock and roll music that can span whatever lengths it pleases. Beautifully paced and wonderfully delivered.



17. Shearwater - Rook (Matador)

So often when I talk about performing classical music with my peers, I am always bringing up the idea of bringing "drama" to the music. Shearwater's black and grey brand of chamber pop accomplishes this, letting frigid, roaring rivers grow from trickling streams. The vocals are excellent.



16. The Dodos - Visiter (French Kiss)

This is bound to be underrated, even on my own list. Quite possibly the freshest sound to emerge on a 2008 debut (except, perhaps, for a record to be found later on this list (and NOT Vampire Weekend, either)), Dodos make a large impression on the listener mostly because their gritty, jumpy sound is a natural part of their music. They don't impose on the audience the way a lo-fi act does, and their use of instruments and stripped textures seem to suggest that the typical band operates with a guitarist, thuddy drummer, and perhaps a toy piano, if they feel like it.



15. The Very Best - Esau Mwmamwaya and Radioclit are The Very Best (Ghettopop/Green Owl)

First of all, this record is free. Not in a Radiohead/In Rainbows type deal, but in a free-mixtape-for-you-to-enjoy-and-share one. What a beautiful cohesion of worlds: indie(ish) source material, powerful electric beats, and that African dude's beautiful voice. This is not for everyone, but certainly great for most.



14. Vampire Weekend - Vampire Weekend (XL)

Everyone's saying it, so I will too - it feels like this record has been out for three years now. The group that might start bringing a new meaning to "college rock" has waited nearly the entire year to show up on this list, and perhaps they lost a few spots because of it. The record is still a success, as VW faces tremendous odds to deliver a stand-out sophomore release.


13. Fucked Up - The Chemistry of Common Life (Matador)

My impressions of hardcore bands have not been good ones. I kind of assumed I wouldn't like this record if it was going to resemble hardcore in the slightest, and yet I was happily surprised at the depth and density of The Chemistry of Common Life. In its side-by-side juxtaposition of various rock styles, it seems to resemble the common music lover, whose vast gamut of musical taste seems to contradict itself, but it's cool, because it works for them.



12. Frightened Rabbit - Midnight Organ Fight (Fat Cat)

One of the only records on my list this year that delivered honest-to-goodness ROCK. It's not a bad thing, though: it seems the more prominent electronic sound becomes in producing an indie record, the harder it is to make one that captures that raw emotion of just plugging in some guitars. Scott Hutchinson squeezes the life from nearly every note he sings so you know you're getting your moneys worth.



11. Gang Gang Dance - Saint Dymphna (THE SOCIAL REGISTRY)

2008 was a big year for me to let down my guard in terms of what kind of indie music I liked and what I dismissed. Pitchfork had been my shining beacon to follow in all matters music since my undergraduate days, and it's been interesting to see some of their tastes go slightly toward the direction of dance music. Gang Gang Dance simultaneously falls into that category and evades that category. Most interesting is the juxtaposition of electronic beats and live percussion instruments, making music by any means in-between. Somehow, I got over my phobia of all things electro this year, and I give a lot of credit to GGD.



Find #25-21 here.