Crimson Jazz Trio (group) King Crimson Songbook Vol. 2 Ian Wallace (drums) Tim Landers (bass) Jody Nardone (piano)
It came as some surprise recently when hip-hop's Kanye West sampled King Crimson's classic jazz-rock jam "21st Century Schzoid Man." It wasn't especially strange that the sound of a vocally distorted Greg Lake worked well within the context of "Power," a somewhat sinister track from Kanye's latest album, but it was unexpected that one of hip-hop's hipper-than-thou artists would even be aware of the progressive rock dinosaurs. Hip-hop and prog rock don't have much in common stylistically, and even within rock circles, Robert Fripp's cult band is considered an acquired taste — you either love Crimson or you hate them.
All of this reminded me of the Crimson Jazz Trio, a group devoted exclusively to rendering trad jazz versions of King Crimson songs. Pianist Jody Nardone, fretless bass guitarist Tim Landers and the drummer Ian Wallace (a Crimson veteran) recorded two albums before Wallace succumbed to cancer in 2007. Nardone also did some singing on CJ3's second album, The King Crimson Songbook, Vol. 2, though its fairly one note in comparison to the piano playing. In addition, Mel Collins, another Crimson vet, can be heard playing soprano and alto saxophone on the album.
CJ3 does jazz justice to Crimson of the '60s ("I Talk to the Wind"), '70s ("Starless"), '80s ("Frame by Frame") and '90s ("One Time"), bringing the melodies to life with an intimate ensemble sensibility and deeply felt improvisation. Even if you aren't a fan of the band's original recordings you're likely to respond well to CJ3.
Throbbing Gristle Peter Christopherson (electronics and a number of other weird things; pictured far right) Genesis P. Orridge (voice, electronics) Chris Carter (electronics) Cosey Fanni Tutti (electronics, trumpet, voice)
Today as I'm sure some of you may have read, Peter Christopher, a founding member of one the most influential bands of the last 35 years, Throbbing Gristle (along with Cosey Fanni Tutti, Genesis P. Orridge and Chris Carter, passed away. The band reformed twice in the last six years; recently on short world tour last year.
Throbbing Gristle is one of my favourite bands of all time. Christopherson was also a member of two off-shoots of TG after the band's first disbandment in 1981, Coil and Psychic TV (with TG lead singer Genesis P. Orridge). You will probably be able to find a good bit of their history online today I'm sure of it. I'm actually going to keep this short because I can really find all the words.
This is definitely one of those moments where a musician's passing actually hits you hard. Especially when the group has been inside your head for a good portion of your life. I have been fortunate to have seen TG, PTV, Coil and Chris and Cosey, so I can say my life is full.
For those you who may not be familiar with Throbbing Gristle, let me say you have to be of a certain warped mind set to enjoy them. But let me also say, without them you don't get bands like Cabaret Voltaire, Front 242, Nine Inch Nails, Skinny Puppy, Test Dept. Liabach and countless others. You might also have not gotten some of the more experimental ideas that have come out of European jazz in the last decade from groups like Supersilent, Humcrush, Nils Petter Molvaer and more. So there is there is reason for both alternative and jazz fans to be saddened today.
Throbbing Gristle utilized electronics and an early 50s art form known as "cut ups" advanced by the great author William Burroughs. This method could be similar to what most kids called "mashups" but it is allot more calculated and takes some real skills, unlike "mashups". What they created was something more visceral, cerebral and spiritual than most bands could even come close to imagining.
Either way, TG represents a very important stamp on the culture of music and in my heart. This more than likely will mean the end of the band completely.I am truly devastated today.
If you've never listened to THROBBING GRISTLE before, you may end up digging them. You might want to start with the compilation Greatest Hits (Mute Records). If you have Throbbing Gristle albums in your collection, please take a spin today and remember one the musicians and bands that truly had a monumental effect on our artistic culture. I promise to do a full scale piece on TG in the coming days. For now...Farewell to our inspiration...
Eddie "Lockjaw" Davis (sax; b. 1921 - d. 1986) The Complete Cookbook Sessions (Originally released on Prestige, 1958; reissued in Europe on Solar Records; 2010)
Shirley Scott (organ) Jerome Richards (flute, sax) George Duvivier (bass) Arthur Edgehill (drums)
Originally issued on Prestige Records as The Cookbook Sessions Vol. I-III, Eddie "Lockjaw" Davis so story goes, nicknamed himself after one of his own songs (although he was also called Jaws and sometimes the Fox) is a highly underrated tenor player who recorded some smoldering sides over a ten year span between 1955 and 1965. His style was bold and blazing. Sometimes it felt like a tuba blowing through a bullhorn that's how incendiary his playing was.
Eddie Davis has a number of stellar albums which I highly recommend from the aforementioned period but The Complete Cookbook Sessions (Solar Records) is a nice place to start for the fun, infectious rhythms and superb performances.
The Complete Cookbook Sessions, are three legendary scorchers for fans of Eddie Davis and his quintet which also feature the indomitable, Shirley Scott on organ. Recorded during the summer and winter of '58 these sessions are killer and feature some corny but perfectly performed numbers such as "The Chef," "Simmerin'," "Heat N' Serve," and "The Boilers." But they also include some wonderful standards such as "But Beautiful," and "Willow Weep For Me." The secret weapon on these dates as it was for the entire tenure of this quintet is Shirley Scott. Shirley Scott ability to go from the electrifying opener on Vol.I, "Have Horn, Will Blow" to the gentle balladry tone of "Will Weep For Me" and "Body And Soul" is phenomenal.
The interplay and the effect Scott has on Davis' playing throughout this period is similar to Coltrane and Miles or Lennon and McCartney. They really brought the best out of each in studio and on stage. You can really feel the emotion in the entire band; not matter if its on in a slow romantic blues or boisterous hard bop--this group was tight and immensely entertaining.
The Complete Cookbook Sessions also includes two additional sessions (the albums Jaws and Smokin') recorded in fall between the second and third volumes of Cookbook show how the group took a stranglehold on standards such as "Pennies From Heaven," and "I Never Be The Same." Superb stuff that complements the Cookbook sessions well and is definitely appropriate to compile together.
While for jazz fans I would recommend a different Lockjaw Davis album, Trane Whistle (Prestige; 1960), I would have to say if you are looking for a truly entertaining session that captures the electricity and magnetism of Eddie 'Lockjaw" Davis, The Complete Cookbook Sessions is a great premier. A nice way to discover one of the unheralded tenor players of the late 50s and 60s. A must hear session.
This is a much later video but it does represent Eddie Davis big style nicely I thought.
Lucky 7s (group; formed 2006) Pluto Junkyard (Clean Feed; 2009)
Jeff Albert (trombone) Jeb Bishop (trombone) Josh Berman (cornet) Jason Adasiewicz (vibes) Quin Kirchner (drums) Matthew Golombisky (bass) Keefe Jackson (sax)
Lucky 7s are an incredible ensemble that has somehow merged the vibrant, gritty and ethereal aspects of both their native cities (Chicago and New Orleans) into an intoxicating yet accessible concoction that is well worth seeking out.
Developed by Jeb Bishop and Jeff Albert in 2006--featuring fellow chicago members from other bands, they then were joined by Matthew Golombisky and Quin Kirchner who migrated to Chicago, originally to perform with the others members on a few dates. This turned into a full-fledged band later that year.
Lucky 7s has a similar sound in line with other Chicago bands (Vandermark 5, Exploding Star Orchestra, Chicago Underground, etc.) but this group seem to find another way to turn what looks similar into something completely different. A well balanced and well placed focus on driving brass rhythms combined with spacey free from atmospherics sets this ensemble apart from its Chicago neighbors (of whom some members do belong actually).
The band debuted in 2006 with Farragut (Lakefront Digital), a fierce attack of complex arrangements and mood changes that made clear that Jeb Bishop and Jeff Albert were terrific song writers outside the groups they performed in regularly. While Lucky 7s is loosely led by Bishop and Albert, each member is allowed to express themselves in this septet.
Pluto Junkyard (Clean Feed) is the groups second album and advances the sound and structures even further. The album is jubilantly moved along by the perfection of Jason Adasiewicz on vibes and stellar work by Keefe Jackson on sax. Adasiewicz adventurous other world soundscapes and Jackson's muscular dexterity add real colour to the proceedings as apparent on "Culrual Baggage" and "Future Dog".
The somber yet beauty "Afterwords" is an emotional meditation on the originals of the band--developing as a result of members Albert, Golombisky and Kirchner moving to Chicago after Hurricane Katrina. This is well documented if you already follow the band it is significant in that the roots of both New Orleans and Chicago jazz live harmoniously through Lucky 7s. "Afterwords" displays this richly through the what could almost be journey walking down a New Orleans street in the aftermath. The basslines from Golombisky are haunting and easily detached you from session to fill you emotions of sorrow and the hope that follows.
"The Dang Hang" is smoldering piece as the liner notes state based around a late night bender possibly? Either way, its a fantastic divergence for the album in a more hyper-rock, free jazz mode. It's fun and show the band can really let rip when it needs too. The always reliable and creative Jeb Bishop takes up electric guitar for this piece with unbelievable results. But "The Dang Hang" has so many changing parts it makes for fascinating listening. The trombone interaction with Adasiewicz's vibes is beauty laid in the middle of the piece and resets the band for a nail-biting conclusion.
"Sunny's Bounce" is nice ode to psyched out sounds that influence Lucky 7s (mainly being Sun Ra) but also the New Orleans legends take flight here as well. It's a gentle midtmepo number creating number hip patterns that will keep your feet tapping but with an interchanging of "what was that note" mixed in. "Sunny's Bounce" is jumping, fresh, but yet interwoven with enough free thought that is not just a homage as it is a statement of intention.
Lucky 7s hopefully is a group that these members will continue to come back to in addition to their usual gigs. Pluto Junkyard definitely stands apart from its Chicago counterparts as a vehicle infusing the roots of two great jazz towns but it also show the immense talents of the entire outfit. This band could easily be making as many records as V5 or CU in the coming years. If you get a chance definitely venture out Lucky 7s..
Crimson Jazz Trio (group)
