Outer Music Diary

Jasper van’t Hof’s Pork Pie feat. Charlie Mariano - Transitory

One of the best parts of scouring the MPS catalog is realizing just how many all-star line ups are seemingly obscured by the bandname or leader. The unfortunately named Pork Pie, cribbed from the famous jazz standard, does not say a lot, but bandmembers Charlie Mariano and Philip Catherine definitely do. Unsurprisingly from Van’t Hof’s perspective this is something of a keyboard jam album and if you’re a fan of early 70s distorted and treated Rhodes sounds, this will inevitably be a treat, as Van’t Hof not only grooves mightily with the thing but spits out solos that would make Herbie Hancock proud.

Overall it does seem a group work, particularly when you look at the credits and see most of the band members, including drummer Aldo Romano and bassist J. F. Jenny-Clarke, get some writing in. But make no mistake that van’t Hof is the leader here and he’s nearly omnipresent even when leaving the Rhodes behind for some piano, organ and celesta. However these moments tend to be linked to the more composed and thematic material, where the e-piano comes in when the band’s fully charged and riffing on a theme to let Mariano, Catherine or, eventually, Van’t Hof himself let loose.

It’s these latter moments that take up the lion’s share of the album and it adds up to another MPS entry where standard jazz, fusion and free jazz kind of collide. Despite the e-piano tying this directly to the jazz rock of the early 70s, the solos, even Catherine’s, are more reminiscent of free work, and the addition gives it the spice that so many fusion/funk fusion albums are often missing. Lots of chromatic ramblings show jazz chops even when the rhythm section is plunking down a rock vamp.

All of this is broken up by more introspective moments, such as in the second part of “Transitory” or the first part of Romano and Jenny-Clarke’s ”Bassamba.” While many of these seem like taking an ad break during a TV show, they give the entirely a bit of dynamic range so that the jamming onslaughts don’t all bleed into each other. And this is important when the band’s taking a piece of the Mahavishnu playbook for “Angel Wings,” with the picked, modal electric guitar work and increasing intensity “Meeting of the Spirits” style.

Everything’s wrapped up by Conny Plank’s recording, who fattens up the sound thus compensating for some occasional thin tones from the guitar, keys and sax and the remaster brings this out quite nicely, given that this kind of recording doesn’t always sound terrific unless your vinyl isn’t beat up. The presentation is excellent as always with this series with the original liner notes. And if I haven’t already convinced you that this is well worth picking up, Thom Jurke’s allmusic.com review, quoted in part here and in the booklet, should get you off the fence:

“…one of the greatest fusion recordings ever, and trounces all prog rock by comparison (possible exceptions being the first three Agitation Free and first five Can records.”

John Tchicai and Cadentia Nova Danica - Afrodisiaca

Danish musician John Tchicai is an alto and soprano sax player who has been involved with a number of important out jazzers such as John Coltrane (Ascension), Don Cherry and Archie Shepp and still appears to this day on various projects such as Henry Kaiser’s Yo Miles tributes (he’s also taught music at my local college in Sacramento). After Tchicai’s stint in New York playing with the luminaries of the free jazz scene, he moved back home in the late 60s and formed Candentia Nova Danica with whom he recorded Afrodisiaca with a cast of 25 other musicians.

Unlike many of the recent MPS albums I’ve covered, many of which are jazzrock or at least edgy, electric jazz, Afrodisiaca is somewhere between free jazz and composed material, with the title track a side-long piece written by Hugh Steinmetz, who also plays trumpet. While much of the music is written (apparently in the scale of the African percussion instrument the balafon), the solo spots and general chemistry are very reminiscent of free jazz, with a wide musical palette incorporating dissonant free-jazz inspired solos into the music’s framework.

The result is one of MPS’s most difficult and challenging albums and one that could possibly be described as “third stream” in the manner of combining European classical tradition with American jazz. Where side 1 slowly builds to quite the climax, the second side with compositions (or arrangements) by Tchicai himself open the floodgates entirely. “Heavenly Love on a Planet” could be Tchicai’s ode to Sun Ra, slow percussion sets up solos for both he and William Breuker, wildly free and dissonant, while the slow tempo set up by the percussionists creates quite a bit of tension. Pierre Doerge’s guitar gets a bit of play on “Fodringsmontage” which plays like a collage of Albert Ayler, Sonny Sharrock and Ascension, all of the freedom wrapped up in some beautiful, eerie ensemble work.

The final two pieces are probably the work’s most consonant pieces and I still hear, even through such a European approach, a lot of Americana in the melodic themes, always reminiscent of Albert Ayler to my ears, the way he’d swirl chaos and anger around the familiar. Harry Akst’s “This is Heaven” is almost like a march, slightly mournful and delirious, and surprisingly tuneful. “Lakshmi” seems to follow right on out, before breaking into a growingly accompanied Michael Shou flute solo and disappearing into mystery, with the ensemble floating up strange chords and returning in between Willy Jagert’s ophicleide and Christian Khyl’s soprano-saxophone like a narrator. The finale is quite meditative in the end thanks to these solos, as if the bursts of chaos and return to ensemble themes were returning one slowly to the center.

It’s not a surprise that this is a highly lauded free work, given that the ensemble work acts as the glue that holds together all the abandon and experimentation so well. It’ll sit comfortably if not edgily next to one’s Art Ensemble of Chicago, Brotzmann and early ECM albums as a prime example of a truly syncretic and avant garde work that ran with the multiculturalism of the late 60s and created something new and lasting from it.

D.F.A. - 4th

I’m very particular about new progressive rock these days. While there’s a lot of good albums from the modern era, there aren’t a lot of great ones, at least not a lot of great ones on the level of the original 70s groups. One aspect in particular is I think there’s a real gap in musicianship between the first wave and later waves. Part of this is now that the genre (or ethic even) is a niche interest, there isn’t quite as much support for newer musicians. Nowadays most bands are made of amateur self-taught musicians when in the 70s there were many greats coming fresh out of music colleges. Comparing, say Italian progressive drummers of the 70s to those in bands of the 90s and 00s really doesn’t look so good for the latter, who often seem to be missing the jazz and classical skills that made the original drummers so professional.

So a band like D.F.A is a very rare breed because they’re one of the few modern bands whose skills are really up to the more professional groups in the style. All of the musicians have either had some training or started with a unfair share of talent and at least one or two of them operate in other bands, all aspects of keeping the chops up. The results showed an unusually strong debut album that was one of the highlights of the 90s and a reasonably good follow up that showed them moving to an even more professional level, even if some of the new elements (echoed sequencer moves akin to space rock) moved them in a less distinctive direction. A live album followed from NEARfest, but it’s been several years since we saw a studio work from the band. And given that gaps like this can often lead to a musical stagnation (I think there’s a window where a new song keeps it freshness, but the life can be practiced out of the material), I was surprised at how confident I was in grabbing this upon release. It’s a rare thing these days.

Fortunately the 4th DFA and 3rd studio album is the culmination of all of this band’s efforts, a work that doesn’t lose the freshness of the material while increasing the maturity and sophistication of the work. The result is a near picture perfect album. Not only have they shucked the Ozric-like synth workfrom their second release, but they’ve pulled more from their debut, particularly the long, twisty and complex compositional works that still manage to have well thought out melodic work and a tendency to go into some of the most insanely intense grooves you’re likely to hear. It kept me thinking, why do so few bands try to make this sort of thing work? No matter how far off the charts D.F.A. manage to go, there’s a focus to their compositional work that ties the digressions to consonant themes and exciting vamps that make the blood flow really fast. And they never overstay their welcome, building up to a crescendo and then taking it all down again for another work up.

That’s one of the biggest differences between this D.F.A. and the previous incarnation. The band have really managed to get the softer, delicate parts so right that they’re almost as compelling as the rave ups. They’ve done this in part by some rather obvious Canterbury copping in parts, but in a very genuine, respectful way. Part of this is the guitarist really seems to have some Phil Miller-isms creeping into his playing. Another part is the electric piano-led, light sequences are very evocative of Hatfield & the North or National Health, both by feel and notes. It hasn’t so much changed their style, but altered it enough to make it difficult to classify D.F.A. among many of their symphonic/romantic contemporaries. Another aspect of this “downtime” is the addition of a female vocalist (Andhira) to the final track, giving all the previous compositions an unsual, but somehow successful wrap up, almost wistful or melancholic, with a melodic structure that reminds me of Mike Oldfield in the early 80s.

It’s really a credit to D.F.A. that it’s very difficult to compare them to anyone else. The closest analog to my mind would be Kenso in that this is the sort of progressive rock that tends to be classified (inaccurately to my mind) as jazz rock, which I think is often just an aspect of the professionality and fluidity of the musicianship compared to those without the abovementioned training (or conversely practice). It’s the idea that when the chemistry is so good, all of the intangibles and ineffables show up in bunches, elements that transcend the notes and rhythms and let the vibe through, qualities less expressed by emotion and physicality and more through intuition.

Overall it’s difficult to want to give anything this new top marks, as one will not be aware of an album’s potential for growth. But in the last 10 years I can count on one hand the times I’ve wanted to do so to a new album and I don’t think any of those impressed me as much out of the gate as this new album. Anyone even remotely interested in the genre needs this one last week. It’s a minimum Gnosis 14 and mostly likely will be a record talked about in hushed voices and cries of “overrated” in ten years, just like everything brilliant.

Yatha Sidra - A Meditation Mass - Germany 1973

Dining on quarks and stratospheric propulsion is an esoterically breathtaking journeymaking which Yatha Sidra attribute to reaching certain innermost realms. Nothing could be further from the proof in putting one within, this trip exacts its penchant for airiness and solidity throughout. Many deem this one to be of the spaced-out ilk, yet I am not akin to the those realms espoused, sensing that it shackles one to the earth effusively. Moving oceans.. slowly whooshing about nearby. Snacking on mountainpeaks with ease. Allowing a true symbiosis, of “head music” and “feel-it-in-your-body” vibrations, a worthy and well-vested corroboration with it’s reputation may just be an out-of-body inner-music experience. This is timeless material. Pensive *and* propulsive, a nice admixture. Mass? Not so much. Religious experience? Maybe, depends on yer state. Dumbfounding clarity and abundance? Yes, indubitably.

Outcome:

A full-of-human-soul-stirring foray into sound and the fashion in which music can touch the spirit, instrumentally. This is very lyrical and speaks in volumes for those with the hears to read it.

- ~ -

::13/15 - Classic of the Millennial Krautrock Continuum::

I return while MM & TM take a summer sojourn…

DEL JONES’ POSITIVE VIBES - Court Is Closed - USA 1972

Wholly wooly jaywhozhefatfunkprowess! This monster slab should be playing in any and every house-n-haus across the world’s whorls for a few weeks straight. Nothing seems to be able to touch the infinite layers of sheer power and insouciance that this recording provides. In many senses, this is the truly hopping end of the spectrum that has to be called simply, and unequivocally, incomparable. Even I, who slather usually with a poised dagger for a tongue when it comes to these things of writ and gush.. well, I am at a loss to say more than the most banal remarks along the lines of: this album, in toto, jams hard and fast throughout, maintaining a cheerful outlook and forward-thinking slant alongside tracks that barrel along and pummel every head-bopping, toe-tapping, body-movin’, and the cerebral “I can’t believe this is happening..” senses you got. Must needs hear the revered psych mix of this! The soul version is something to sop up nice and tight up on your hot biscuits like gravy. Also, not only does this thing cook like Emeril on steroids, live on Iron Chef with 5 arms, there is a rocking element that cannot be overlooked, structure, indescribable heft, intelligence and infectiousness are the main salient traits of this magnificently beating and heaving with hot-breathing beast.

Outcome:

A fookin’ M-U-S-T for everyone!
- ~ -

::13/15 - Stone-Cold Classic::

As Mike alluded to a week or so ago, OMD is wrapping up it’s Winter and Spring session. We both decided to take a break from the daily postings. The idea is to return in September with a fresh batch. However, we are not bound to this on either side of the equation… that is to say, we may return earlier or later, depending on mood and inspiration. And also to mention that OMD is not solely represented by Mike and I, and perhaps some of our other writers will suddenly reappear with a batch of their own reviews. We both would welcome this event as well.

Thanks for all your letters and support over these past three years. We’ve enjoyed reading them and they’ve been inspiring to both of us!

We’ll see you soon…

Sensory System - s/t (1974 Denmark). Like many Danish rockers, Sensory System has their basis in rural rock, and are not that dissimilar from Day of Phoenix, Culpepers Orchard and Midnight Sun. It’s a bit more straightforward than these groups, but does feature some fine guitar work. Also reminds me of the debut by Rush, oddly enough. Note that this album was released in Germany on Nova as the group System. No CD exists.

Anders Koppel - Aftenlandet & Regnbuefuglen (1977 Denmark). Anders Koppel was the keys player for Savage Rose and this is most known solo album. Parts of it were used for a soundtrack to a film called “Aftenlandet”, and the album definitely has a soundtrack flow to it. There’s very little cohesion between the tracks, though if each composition is evaluated individually, there’s much to admire. An all instrumental album, Koppel was successful in putting together a quintet, giving it more a rock band feel, rather than just a bunch of studio musicians getting together to lay down some incidental music. No CD for this one either.

Xaal - s/t (1989 France). Until recently, I didn’t realize Xaal had a debut cassette prior to their two CDs, which I became familiar with upon release. Here, Xaal is more barebones than on subsequent albums. The Zeuhl influence is there, as is a sedated jazz perspective. The ideas aren’t quite as developed and the compositions seem like mere skeletons of what they could be. In fact, two of the five tracks will indeed show up on the next two albums, each album claiming one. And as expected they are more fleshed out. Still a pretty adventurous album for the time, and worth seeking out. Probably would be worth a CD reissue to fans of the group and Zeuhl music in general.

The West Coast Workshop - The Wizard of Oz and Other Trans Love Trips (1967 USA). One of the better exploitation albums you can hear. It’s primarily orchestrated pop music geared for a mature adult crowd. That is, until they break into these cool long jams featuring flute, tablas/hand percussion and sitars. In the end, you have a “psychedelic” version of the original Oz soundtrack + a handful of originals. Get hip man. Solid. As one online zine (Scram) states it’s “easy listening gone horribly awry”. Well said. Again, no legit CD exists.

Nadavati - L’Esprit Souffle ou il Vent

This is one of those French one-offs I used to see cruising the old Musea discography books, the kind of arcana that made collecting rare progressive music such a joy at the time, even if a good percentage of these bands never made the grade. Nadavati are very much a combination of two major influences, the lion’s share comes from fusion, the smaller but still substantial influence, particularly in the album’s bookends, comes right from old Chicago Transit Authority (I think mostly from the first couple albums). It has the horns, the electric guitar soloing and the Chicago method of amping a songs intensity by changing to a higher key with the full horn section in swing. Surprisingly this influence is only relegated to a song or two, the lion-share of the middle parts are internationally inspired jazz rock, most obviously Mahavishnu Orchestra or mid-period Return to Forever, but also, bridging the two influences, Tower of Power. Here the band creates lots of vamps for plenty of guitar and horn solos and as such does a fine job of it; I also have to also borrow Tom’s previous comment on the unison lines which often act as the backbone to the songs. Obviously the extreme derivation in parts knocks it down a little, but overall this is a nice slice of horn fusion, with a much heavier American influence than most French prog-related rarities.

MOTUS - Machine of the Universal Space

Another bizarre French one off that could be considered similar to something like Concept from Canada or even a more hippy Godley and Creme, a band whose art pop crosses a number of different styles and due to the era occasionally bridging progressive rock. MOTUS, however, are a lot more mainstream than Concept were and throughout there’s a concentration on the sort of post Crosby Stills and Nash pop and folksy rock that you’d find in the Eagles on the most populist side and something like Ophiucus referencing an obscure countrymate. This is likely not to be interesting to anyone except those who collect strange, but quirky records, although at times the band does a remarkable side of aping the song stylings of American bands that has a tendency to make you look up and wonder what you’re listening to. Certainly not a waste of time to stop by and check this one out, but not one you’re likely to return to either.