Issue #21 Extra!: New Releases

Aelian – “A Tree Under the Colours”
l’Ange Vert – “Vol de nuit”
Anscha – “Anscha”
AO – “Grow Wild”
Ash Ra Tempel – “Gin Rosé”
Atman – “Tradition”
Audra – “Audra”
Azazello – “Black Day”
Hugh Burns – “Dedication”
Hugh Burns – “Mindwash”
Calix – “Cancoes de Beurin”
Car 44 – “Platinum Holes”
Robert Carty – “The Inexplicable”
BJ Cole – “The Heart of the Moment”
David Davidson – “Celtic Fantasy”
Five Fifteen – “I Don’t Remember”
Five Fifteen – “Silver Machine”
Fonya – “Sunset Cliffs”
Guillermo Fragoso – “Mexxico”
Golaná – “Feather on the Wind”
Gavin Harrison – “Sanity and Gravity”
Hector Hernandez – “La Evocación de lo Sublime”
Glenn Hughes – “Return of Crystal Karma”
Dave Jackson – “Fractal Bridge”
Joe Jackson – “Summer in the City”
Keith Jarrett Trio – “Whisper Not”
James Johnson – “Entering Twilight”
Susanne Lewis – “Susanne Lewis”
Mashu – “Elephants in Your Head”
Alo Mattiisen – “Read”
Arturo Meza – “Borges”
 Micro-Ritmia – “Micro-Ritmia”
Mongol – “Doppler 444”
Music from the Future – “Mind Trips”
Music from the Future – “Random Noise Generation”
Mythology Bullfinch – “The Age of Chivalry”
Mythology Bullfinch – “Songs From the Age of Fable”
NLC – “Unis”
NLC – “The Cereal Killer”
Wittox O’Hara – “Blame: Mascot”
Lester Palocsay – “Baby Data Drop”
Preston Reed – “Handwritten Notes”
Remy – “The Art of Imagination”
Sigmund Snopek – “Trinity Seas Seize Sees”
Star People – “...Are Coming”
Darren Stroud – “Guitar Absolute”
Sviraj – “Ciganine”
Tempest – “Live at the Philadelphia Music Festival
Theta – “Seeds of the Dream”
Russ Tolman – “New Quadraphonic Highway”
Tranzit – “Tranzversal”
Twin Age – “Moving the Deck Chairs”
Peter Ulrich – “Pathways and Dawns”
Stephane Vaillant – “Crazy Stuff”
Frank Van Bogaert – “Docking”
Tara Vanflower – “This Womb like Honey”
VA – “e-Progeny”
VA – “Looper’s Delight Volume 2”
Voltaire – “Almost Human”
Vujicsics Ensemble – “25”
Annie Whitehead – “Home”

Tara Vanflower – “This Womb like Honey”

 (Projekt 93, CD, 2000)

Miss Vanflower is the vocalist for Lycia, another Projekt band. My favorite tracks on the Lycia I reviewed were the instrumentals, none of those here. Tara “plays” all the instruments; electronic rhythms, noises and percussion. Listening to Tara croon “I drink your skin in Heaven” over a very simple snare with some electronic noises that would have been cool in ‘65 is not a pleasant experience. This album managed to go places I pretty much avoid and I found it very hard to play it all the way through. Psychedelic beat poetry. Tara’s voice loops around my room and I can’t take it anymore. You have got to like Tara’s voice to dig this one. I am afraid that counts me out. – Dane Carlson

Sviraj – “Ciganine”

 (Omnium OMM2101, 2000, CD)

Omnium’s primary mission is releasing “folk music that rocks,” and they turn slightly aside from that with this disc. Though Sviraj (pronounced “svee-rye”) have energy to spare, they do not “rock” by any definition. This American band plays “tamburitza,” which is a music tradition from the Balkans, combining Hungarian, Serbian, Croatian, and Roma (Gypsy) roots. There are none of the complex harmonies of Bulgarian vocal groups here, and the overall sound is rather like the Gypsy Kings with fewer guitars. There is plenty of passionate fiddling from Raczar Lopatic, who is considered one of the best Americans in the tradition, and I can see why. He is backed by Lenny Tepsich on upright bass, Danilo Yanich on bugarija (like a large guitar), accordion, and guitar, and Vlad Popovich on cello and brac (a small five-string guitar). All except Popovich sing, often in harmonies a little reminiscent of Mexican folk music with a Gypsy tinge, though the a capella “Ajde Jano” has a great sound. Occasionally they venture into one of the most intriguing Balkan traditions: odd meters. “Bitola” is a mid-tempo 7/8 song, and “Stacy’s Recenitsa”, the single instrumental piece on the disc, is 7/8 so fast it feels like fast 3/4 with a stuttered rhythm. – Jon Davis
[http://www.omnium.com]

Vujicsics Ensemble – “25”

 (Vujicsics E-DISC 005, 1999, CD)

Founded in 1974, the Vujicsics Ensemble is perhaps Hungary’s most widely respected folk group. Named for Tilhamér Vujicsics, a composer and musical folklorist in the tradition of Béla Bartók, the ensemble is devoted to the music of Hungary’s Serbian and Croatian minorities, as well as to that of Hungary’s neighbors in the former Yugoslavia. This CD, recorded live at the Academy of Music in Budapest, celebrates the band’s 25th anniversary and features guest appearances by Márta Sebestyén and other Hungarian folksters. Its seventeen tracks reflect impeccable musicianship and complete fidelity to traditional stylings. Mandolin-like instruments of various sizes called “tamburitzas” provide most of the sound here (all seven band members play them at some point), but accordion, violin, clarinet, bagpipe, shepherd’s pipe, and vocals (both male and female) are also featured. The songs are traditional south Slavic folkdances (kolos and oros, mostly), although a couple of tunes, including the eight-minute, Bolero-esque “Rastanak” (with passionate clarinet playing by Mihály Borbély), have a more Gypsy feel to them. If you enjoy traditional folk from the Balkans – or if you’re looking for a great place to begin exploring it – then 25 is really a must-have. But if you’re expecting to hear progressive rock like Solaris or After Crying (or even prog folk like Kolinda), then 25 will probably leave you wanting, because that’s not what this CD is— not by a long shot. – Jim Chokey
[stereoperiferic@mail.datanet.hu]

Atman – “Tradition”

 (Drunken Fish Records DFR 45, 1999, CD)

No newcomers to Expose, this exotic Polish ensemble check in with another release. Atman’s sound is tough to pigeonhole, their forte being a bent for creating ambiental drones and spacey improvisatory moves, over a repeated background motif. Instrumentation stresses acoustics: guitars, bass, zither, dulcimer, percussion, and vocals, giving their sound an old world rustic sheen. Comparison could be made with the Bulgarian group, Om Art Foundation. But Atman ventures further outside the playing field, which will hardly have them confused as new age. Although improvisation plays a part in determining the results, there is nary a hint of a jazz sense anywhere. On the contrary, their expressive vocabulary blends folk styles (some Indian music too) with a modern attitude, and even a bit of Popul Vuh. The 13 pieces on Tradition skirt around quiet pastoral regions, with a tendency towards more free abandon when they start to let the improvisations fly. In this regard they employ the vocals of Anna Nacher, who really pulls out the stops with wild vocalisation that sometimes resembles Iva Bittova. The Polish language shares some phonetics with Czech, and Anna’s tone is similar as well. Shorn of her presence though, I tend to tire of Atman’s long-winded jams. Still a unique group worth checking into for fans of frontier-blazing music. – Mike Ezzo

NLC – “Unis”

 (Gazul ETCD 24-GA 8631 AR, 1996/1999, CD)

NLC – “The Cereal Killer”

(Gazul ETCD 23-GA 8624 AR, 1999, CD)

NLC is a project led by one Julien Ash, who has apparently been at this for some time, although these two releases were my first exposure to his work Their relative anonymity may not last, as they are now with Musea’s Gazul sub-label for new/avant-garde music. Unis is actually a reissue of the original 1996 release on the karismatik label, and appears with a bonus track NLC contributed to a tape compilation on the Harmonie label. On this album the band is a quartet, with two on keys (including Ash), one on cello and the last on “toys”. There seems to be an impressionist quality at work here, with fairly sparse arrangements and a free or open tonality. The title track features male and female chanting on top of the music, but apart from this everything is instrumental. This album is best when things stay calm, as in the “rockier” moments a somewhat annoying programmed snare disrupts the mood. A good album that could be made better with real drumming. At over sixty minutes this is somewhat of a long haul, too. The Cereal Killer, from 1999, sees Ash and A. Gibax (cello) return, supplemented with five additional musicians. Percussion is still programmed, but is done more effectively and is therefore less intrusive on the compositions. The music takes on a neo-classical sheen not dissimilar to bands like Rachel’s, although there is a more playful element at work here. This album is more concise, with six tracks ranging from five to nine minutes apiece. The compositions are generally more effect-laden than on Unis, with less reliance on the cello. Some of this material strikes me as overly cold, but that is not a negative so much as a characteristic trait. All in all, while I don’t love this stuff, it does have a lot going for it. One to take a chance on, perhaps. – Sean McFee

VA – “Looper’s Delight Volume 2”

 (Marathon Records (no catalog #), 1998, CD)

This was an awesome Internet find. I discovered the Looper’s Delight web page one day and am the better for it. A site dedicated to the use of the tape loop; its origins, tech tips and resources for the modern looper. The contributors to the site compiled this CD. Of the two discs that make up this CD I can say there isn’t a dull moment. Yes, much of the music does bring to mind the work of Robert Fripp, but that is only the beginning. There are 22 tracks here, all solo works from around the globe. The music is primarily looped guitar with solo guitar over it; some artists add percussion, keyboards or bass. A Chapman Stick here, a Warr guitar there. There is also one odd little track called “Circus”, about a boy whose father won’t let him see the circus; loops and strange voices make this track memorable. Looper’s Delight Volume 2 emerges as a great entry into the ambient category, as I love this kind of sound playing in the background. I highly recommend this to one and all. – Dane Carlson
[http://www.annihilist.com/loop/loop.html]

VA – “e-Progeny”

 (Luna Negra CDLN-10, 1999, CD)

This interesting compilation is the result of a collaboration between members of an Internet mailing list called “e-Prog”, which is dedicated to the discussion of keyboard-led progressive rock. There are some “celebrity” guests here as well, such as Alfonso Vidales of Mexican neo-progressive group Cast, and Swedish solo artist Björn Lynne. This compilation serves as a tribute to keyboard-driven music, and is almost entirely instrumental. Most of the keys used are digital, and other instruments, particularly drum tracks, tend to be programmed. Lots of “aaah” choruses, synthesized guitar and bass, and so on. Most of it, as a result, sounds like later output from artists such as Klaus Schulze, or like instrumental neo-prog. Exceptions include the track “Cold Coffee” by Count Zero, which is in a more prog- metal vein and features a rather sudden fade-out, a lengthy track from heavy prog power trio Façade, which has vocals and sounds somewhat out-of-place here, and finally Mark Jenkin’s tribute to Wagner and Bach entitled “Wagnertron”. This last is a kind of Emersonian romp through the Tannhäuser Overture and Beethoven’s Ninth, which is miscredited. Many of these tracks seem to serve as calling cards from the various performers, perhaps seeking to gain wider recognition. While there is some engaging material here, the overall homogeneity makes it difficult to get too excited about any one track over the others. Much of it reminds me of later Jean-Michel Jarre circa Rendez-vous, with a capacity to stimulate, but not much of a lasting effect. – Sean McFee

Glenn Hughes – “Return of Crystal Karma”

 (Steamhammer SPV085-218812 DCD, CD, 2000)

Glenn Hughes has always been a hidden, overlooked talent in my book. The man came to prominence first with rockers Trapeze, before moving into the high profile of Deep Purple during the Burn period. Since then there has been the odd solo stint with a few notable keyboardists, including Keith Emerson’s ad hoc live group, with Marc Bonilla, and even an album with Asia’s Geoff Downes, further cultivating an accessible songwriting style. R.O.C.K. can be seen as an additional statement of Hughes’ career as a funky vocalist/bassist while working with a supporting cast of German musicians to flesh out a high caliber, soulful blues-rock. The first track is a sly blend of Gary Moore’s blistering solo work or more recent Purple. “Owed to J” is an obvious tribute to Jeff Beck and Jan Hammer, with J.J. Marsh doing his best impersonation paired with keyboardist Hans Zermuehlen. “Days of Avalon” follows a similar mode as a strong power ballad, which may find a home in happy rotation on German AOR radio. This edition of the CD comes with a live in South Africa disc, where several of Hughes’ better collaborative pieces are served up, including “No Stranger to Love”, written with Black Sabbath’s Tony Iommi. Also included are rocking live renditions of the last two tracks from acclaimed Hughes/Thrall albums Coast to Coast and First Step of Love. – Jeff Melton
[www.glennhughes.com]

Car 44 – “Platinum Holes”

 (Thirsty Ear Thi 57078.2, CD, 2000)

As part of New York label Thirsty Ear’s plan to expand its scope to a varied roster, ex-Rollins Band and Bowie’s recent guitarist Chris Haskett puts on his production hat to produce Virginia’s alternative rock band, Carr 44. The quartet has won a few local awards for best band and female vocalist (Dahna Rowe). The band covets the clever pop rock alternative market, which is unfortunately heavily filled with lesser talent at the present time. “Rid of You” explains the pangs of ditching an abusive unhealthy relationship, while “John Thomas Lover” bemoans the presence of a missing rescuer for an insecure adolescent. “Fall 4 Me” could even be an outtake from a recent No Doubt disc, less the dramatics. The album goes into overdrive about half-way through the disc, when the band starts getting more aggressive. This is due in part to the driving rhythm section of Rob D. and Bill Crawford, who hold the fort down so to speak. Guitarist and co-writer John Conkle has a keen grasp on modern hooks and riffs, as heard on several tracks such as “M-12-11” (probably the single piece which could break the group into the modern radio market). The quartet is kind of like the band X, matched with the sassiness of Deborah Harry or Chrissie Hynde’s sarcastic wit. Car 44 could be that sneaky act that captures the airwaves in the New Year. – Jeff Melton
[www.car44.com]

Stephane Vaillant – “Crazy Stuff”

 (Brennus BR 8052.AR, 1999, CD)

Okay, let’s get one thing straight; this guy can play guitar. It’s obvious he can play circles around any of these modern thrashy guitar heroes. Stephane Vaillant has got very nice tone and good feel to go along with his killer chops. However, there is always a danger in displaying your virtuosity over and over without songs that serve as an adequate carrier wave. This is what happens with Vaillant’s Crazy Stuff. It is a common problem that plagues rock guitar virtuosos like Joe Satriani, Greg Howe, Vinnie Moore, Tony Macalpine, and the list goes on. Great guitar players, not so great songwriters. Every song seems like just another vehicle for the player to blow his chops on. If Stephane Vaillant and his colleagues could somehow feature themselves within songs that are musically substantial enough to be remembered by, their legacy would probably be much more enduring. With rock guitar instrumentals, you have a disadvantage in regards to harmony. Straight ahead rock tunes in general are not as complex in rhythmic or harmonic structure as jazz- or classical-influenced pieces. Therefore, what usually happens is that a guitarist like Vaillant is stuck with overused foundations to build upon. Your ears have most likely heard what he is playing a thousand times already. Though, if you like to hear guitarists just blow, it’s worth a listen. – Jerry Baiden

Mongol – “Doppler 444”

 (Belle 92370, 1997, CD)

How this one was missed by Exposé’s radar is still a mystery to me, having only been brought to our attention earlier this year. The six tracks herein range from J- fusion of the highest order to a modern day take on zeuhl, Japanese style. The band is a four-piece of keys, guitar, fretless bass and drums, mining the fruitful terrain of bands like Kehell, Kennedy and Kenso, with most of the tracks penned by keyboardist Takeshi Yasumoto. Keys are mostly digital, a minus that’s easily overlooked when a band does what they do this well – one would be hard pressed to find fault with any of the six spirited tracks herein. If the ten minute opener “From The Beyond – Doppler 444” doesn’t launch your imagination into orbit then you must be asleep or dead. Follow that with another memorable fusion piece, “Garadama”, showcasing the band’s tasty melodic instincts. “Driller” is another smoker laden with constantly shifting meters and some lightning fast guitar leads that will leave your head spinning. But perhaps it’s the two final tracks, the complex and convoluted “Merazoma” and the 18 minute closer “Greatful Paradise” that merit special mention, the latter borrowing a page from the zeuhl book that recalls Magma’s legendary “De Futura”. Indeed, if you like Magma or any of those K-bands mentioned earlier, find a copy of this ASAP before it goes out of print. This is the real deal. My highest recommendation. – Peter Thelen

Star People – “...Are Coming”

 (Private release, 1998, CD)

Anyone who’s seen the Ozrics on their last couple US tours may have caught these folks inadvertently as their opening act. Yes, these are those bizarre guys in tuxes that look like some kind of Las Vegas sideshow, claiming that they come from a distant planet where they worship Sinatra and Sammy Davis Jr., and mix martinis right there on stage. Bizarre indeed. Despite their weirdness (one almost wonders whether to take them seriously at all) and the lyrics that follow their flying saucers and tuxedoed space men act, these guys really do have chops, and their compositions aren’t too bad either. One might sense that their style is somewhere along the axis between Wall-era Floyd and modern rock/pop bands, with strong hints of King Crimson here and there along the way; hairpin changes in rhythm and some superb instrumental breaks prove these guys have what it takes. However, the deep voices and almost-spoken vocals about signals and spaceships and the Ratpack and such wear thin after a while; this writer often finds himself just wishing that all the vocal bullshit would stop and the band would just play on without singers. At the very end of the disk is a cover of the Klaatu song “Calling Occupants of Interplanetary Craft”, which tends to underscore a rinky-dink lack of focus in many of their own compositions. A good band that shows plenty of promise, but … I dunno, maybe I just don’t get it. – Peter Thelen

Micro-Ritmia – “Micro-Ritmia”

 (Paraiso CDGLP 83, 1986, CD)

Despite the supposed 1986 release date on this, it must have languished in total obscurity for several years. The first this writer ever heard of this duo was on the Margen sampler, reviewed a couple issues back; several months later a couple mail order catalogs carried it briefly, which is how we got our hands on it. While the origins of this effort represent the more academic side of the musical spectrum, it remains interesting and enjoyable nonetheless. Ernesto Martinez and Eduardo Gonzalez play piano, synthesizers, marimba, and a creation of their own – the Zamponifono (a sort of wind based instrument capable of playing rapid sequences of notes). Using duets of two pianos, or two marimbas, or whatever, they explore the micro-rhythmic patterns (placing notes in the spaces between notes) to achieve a sense of hypervelocity in the music, thus breaking the barriers of conventional mechanical and electronic instruments. While their compositions tend to be self-indulgent and a bit on the sparse side arrangement-wise, what they do offer is typically very dense and busy, and high on the notes-per-second scale. While it’s difficult to draw comparisons, this writer is sometimes reminded of Battiato’s more experimental works from the late seventies. Unique and different. – Peter Thelen

Dave Jackson – “Fractal Bridge”

 (Fie! Fie9113, 1996, CD)

Utilizing the heretofore-unknown Soundbeam system, Dave Jackson has found a means to incorporate together his love of the spontaneous moment as well as live improvisation. Across the eleven cuts, the former reeds man with Van der Graaf Generator weaves a tapestry of MIDI-created vignettes, which spotlight both the precious and the nearly indefinable. The opening cut, “Ecco Soundbeam”, is probably the most accessible piece to the VdGG curious minded. On “Aloerotic” Jackson layers multiple reed lines atop each other against a harp-like backdrop, which gives the impression of depth to the performance. The sound map becomes a bit direr and more gothic with “Keystone”, a song that relies heavily on organ foundation and skirting sax squalls. “Wildman” literally creates that sense with a brash MIDI setting, which borders on the ReR free jazz borders of random composition. “Untouched by Human Hand” is a nearly pure techno rendering which defines the complex interface between man and unlikely machine. The two longest pieces on the disc weigh in at over six minutes long: “Songerie” begins with a lush cushion of keys which gravitate into more sinister territory, while the album’s closing piece, “Resolution”, is simply that, a quiet soothing wind down. Peter Hammill, who also helped baby the project along to its fruition, produces the disc. Jackson himself provides inordinate details as to the seed and execution of each track which goes far to communicate his creative muse. I highly recommend the disc to listeners of jazz inflected Zeuhl and VdGG aficionados. – Jeff Melton

Hugh Burns – “Dedication”

 (Bridge BRGCD15, 1998, CD)

Hugh Burns – “Mindwash”

(Bridge BRGCD27, 1999, CD)

For those of you who don’t know him, Hugh Burns is a much traveled and in- demand session guitarist who has played with the likes of Wham, Gerry Rafferty, and Jack Bruce. He is also involved in the low-key European fusion group The Lonely Bears with Jeff Beck sidemen Terry Bozzio and Tony Hymas. These two solo discs find the crafty guitarist in two distinct modes, one more Hispanic MOR and the other in a more suitable acoustic style. Dedication is a blend of Spanish influences, which segues between pop-jazz (as on “Havana Nights”) to feel good pieces (such as “We Belong Together”) for the first half of the album. Stylistically, this portion of the disc is something that would appeal to fans of Earl Klugh. Surprisingly, the disc starts taking an interesting twist with a rare Ralph Towner cover, “Serenade”. The remainder of the disc picks up momentum based on Burn’s crafted approach and nimble fingers. Mindwash fares better overall, since the collected tracks are built on several moody and semi-classical endeavors. Most of the twenty tracks clock in at just around two and one half minutes long except for “Renaissance”, a new rendition of a traditional jazz piece, and the album’s closing romp, “Closing Time”. The end track is characterized by a picking style similar in approach to that of Towner or even Jan Akkerman. Most of the songs are light but adept excursions, with subdued dexterity that contrasts to the work of Jim Hall or Pat Metheny’s melodic early solo work on ECM. Overall the two discs together indicate a wide span of influences and musical template for Burns to strut his wares and make inroads into both Latin easy listening and acoustic markets. – Jeff Melton

Gavin Harrison – “Sanity and Gravity”

 (Resurgence RES128CD, 1997, CD)

With Sanity and Gravity UK session drummer Gavin Harrison steps up to the lead role with his very first album. Harrison is known for accompanying many divergent artists such as Iggy Pop, Level 42, Kevin Ayers and Italy’s Cladio Baglioni, with whom he is now still closely associated. The percussionist is also an astute teacher, having written two accredited books on drumming and percussion, Rhythmic Illusions and Rhythmic Perspectives. His album begins with opening track “Aim”, which is a prime indicator as to what to expect; imagine L. Shankar playing with Weather Report circa Black Market. The track blends Indian, jazz and crafted pop themes initially developed by the fine, but much ignored Dizrhythmia project (of which Harrison was a member with upright bassist Danny Thompson and vocalist/guitarist, Jakko). Key contributors include Sultan Khan on sarangi and Ian Kirkham on ewi as well as “Mr. Wobbly bass”, Mick Karn, who injects his rhythmic statements on four tracks along with cohort Richard Barbieri. Harrison’s own drumming skill across the disc is of very high caliber, much in the vein of Stewart Copeland/Bruford or even RtF’s Lenny White. Dave Stewart makes an overdue appearance on two tracks which close out the disc, “Sonata in H” featuring mostly jazz piano and “Big News for a Small Day”. “Witness for (Bobby) Harrison” is the lone passive ballad on the disc which is carried by the urgent vocal of Sultan Khan and trumpet of John Thirkell. The disc is a fine extension of a unique hybrid jazz style. – Jeff Melton
[http://www.drumset.demon.co.uk]

Joe Jackson – “Summer in the City”

 (Manticore - Sony Classical SK89237, CD, 2000)

Leave it to musical chameleon Joe Jackson to twist the standard pop jazz arrangement of a few well known pop tunes and provide further proof of his oft- ignored creative genius. Dipping into his sixties songbook, it’s a coy opportunity to connect the dots from influences to his own uniquely crafted wordsmith which include well thought-out arrangements. The live trio is Jackson himself on piano with longtime bassist Graham Maby and drummer Gary Burke that propel the onstage proceedings. The album also contains a straight-ahead tribute to Duke Ellington in the form of the classic standard “Mood Indigo”, which migrates to a rough cut on “The In Crowd” which is then meshed to Jackson’s own “Down to London”. Jackson’s hit from 1979, “It’s Different for Girls”, is rendered within a medley of four pieces. From the songwriter’s own catalogue are spirited, stripped down versions of “The Obvious Song”, as well as “Another World”, and “Be My Number Two”. “Fools in Love/For Your Love” relies on the same chord progression to transition from a painful ballad to a rave-up on the Yardbird’s classic circa 1966. Also included in this odd, but compelling set is a curious arrangement of the Beatles’ “Eleanor Rigby” (with solo keyboard arrangement) and “King of the World”, the last track on Steely Dan’s Countdown to Ecstasy. If this is any indication what a current Joe Jackson live show constitutes, lovers of the quirky polished pop hook and chop are in for a night of magic and tunes buzzing in your head hours after the moment has departed. – Jeff Melton

Annie Whitehead – “Home”

 (Lacooka Ratcha Records LCVP102CD, 1999, CD)

Annie Whitehead is a trombonist and composer who has made what I’d characterize as an optimistic revalidation of the roots of early Brit jazz, adding a careful handling of world music themes. Her own band Experience has released three CDs as well as recording a session of aggressive, improvised jazz entitled Rude. Her partner in musical crime is bassist and arranger Ian Maidman, who counts among his work sessions with David Sylvian (“Gone to Earth”) and The Penguin Café Orchestra (along with Whitehead), among others. The nine tracks on the album comprise a carefully arranged set of successful pieces, which span a wide array of styles. “Hale Bop” is an obviously funky tribute to the comet which resulted in Nike-shoed cult members offing themselves. “In the Lap of the Gods” is an uptempo ballad which shows Whitehead’s ability to carry a strong melodic line along with the classy tribute to a Catholic youth center, “For Us”. In contrast, “Celebration”, a tribute to Simon Jeffes, is a short precious piano-led theme featuring Whitehead on melodica. Essential keyboard contributions are made from noted Euro jazz player Jasper van’t Hof (Ex-Pork Pie and Eberhard Weber’s Colours). He adds “Mad Barrel Organ” on the reggae tinged “Sweet Don D”, which is one of the best tracks on the disc. With this strong outing under her belt, it’s clear how Whitehead could conceive of the new Wyatt big band tribute, which is now also available from Voiceprint. – Jeff Melton

Mashu – “Elephants in Your Head”

 (Voiceprint VP188CD, CD, 1996)

Hugh Hopper’s penchant to seek the unobtrusive collaboration results in another crystal of a project. This improvising trio is based on your typical guitar, bass and percussion scenario, except that on this outing there’s a distinct jazz emphasis on tabla intermingling with blistering lead guitar from Mark Hewins (as heard on the opening track, “Used To”). In fact, I’ll further clarify that this is the best vehicle for Hewin’s unique textural approach to fret bending that I’ve heard. His leads recall both Pat Metheny’s lyrical style as well as Phil Miller’s angular approach. Percussionist Shyamal Maitra adds non-standard delivery of the rhythmic aspect of the disc, including vocal cadences. Tracks of note include “Sea Beyond”, which carries with it some of the more brooding aspects of Hopper’s solo compositions, relying on an ominous bass line to contrast with MIDI-guitar leads. “Elephant” relies on a MIDI bell theme which Hopper endeavors to punch a few healthy low-end holes into before transitioning into a psychedelic rock groove. Elton Dean makes an all too brief cameo appearance on “Passage through NW”, a brief almost Soft Machine 5-like interlude, which transitions into “Afaiu”, where Hopper again steps out into a gloomy solo. For a live album recorded direct to DAT, the musical camaraderie within this trio serves as a delicate balance between the improvised and the telepathic. Too bad this trio was a short-lived endeavor, which hasn’t found the right ears to appreciate it. – Jeff Melton

Wittox O’Hara – “Blame: Mascot”

 (Ipso Facto IF 9831, 1998, CD)

This is the second album by the Canadian guitarist, and although it’s getting a bit moldy by now, it does deserve a mention here. O’Hara plays electric and acoustic guitars, and also programs bass, drums and percussion. He is assisted by others on electric violin and saxophones. The percussion tends to be for effect rather than to provide the rhythm, although some tracks such as “Hemophiliac Love” have fairly heavy use of vibes. The combination of these tonal colors is fairly innovative, leading to a sound that can be both full and sparse, and often alternates between the two as a means of providing tension. O’Hara seems to prefer the acoustic guitar, but his forays into the electric territory sometimes take on a Frippian air, which, when combined with the electric violin, might summon comparisons to mid-period Crim with a touch of RIO or musique actuelle. The musique actuelle comparison might be the most apt, as the compositions give off an air of offbeat fun, while being engaging on a serious level. One of the best releases from Canada in recent years, and strongly recommended. – Sean McFee

Five Fifteen – “I Don’t Remember”

 (Record Heaven RHCDM5, 1999, CDEP)

Five Fifteen – “Silver Machine”

(Record Heaven RHCDM8, 1999, CDEP)

Here we have two four-song discs from Finland’s psychedelic progressive hard rock masters. The first features a short version of a track from their album Six Dimensions of the Electric Camembert plus two new studio tracks and a live cover of the Allman Brothers classic “Whipping Post”. The bonus studio tunes are fine additions to the Five Fifteen catalog and feature guest performances from Silver Surfer (guitarist Tatu Mannberg and drummer Tuomo Väänänen). “Games of May” is especially engaging. “Whipping Post” is a real workout for the band, and features an entertaining drum solo (really!) from Janne Suni. For the second EP, they team up with Hawkwind’s Nik Turner, the outgrowth of some live shows they’ve done together. The lead track is a rocking energetic version of the Hawkwind classic. A second studio tune, their cover of Captain Beyond’s “Thousand Days of Yesterdays”, is a great example of the kind of 70s-inspired, 90s-energized rock Five Fifteen excels at. The disc is rounded out by live versions of two tunes from Psychedelic Singalongs for Stadiums: “Waterfall” and “Dancing with Mrs. Fischer”. The live material sounds very full, featuring three guitarists, including special guest Brian Robertson, formerly of Thin Lizzy, who somehow manage to stay out of each others’ way, boding well for the band’s planned live album. Incidentally, for this outing, the band credit themselves under a variety of fake names like Pepe Tijuana, Krazy Kid Kentucky, Ronnie Nevada, Big Mama Texas, and Urban Super City Space Cowboy. Turner and Robertson appear under their own names. – Jon Davis
[http://www.recordheaven.net]

Lester Palocsay – “Baby Data Drop”

 (Cog Factory COG007, 2000, CD)

The music on this disc was originally recorded from 1984 to 1990. Nothing is provided in the way of musician credits, but judging from the sound of it, Palocsay worked on his own. Most of the tracks consist of keyboard chords, generally with a wobbly sort of tone, and often without much in the way of melody. There is a demo quality about the whole thing, or not even “demo” – more like a guy messing around with his keyboards while the tape is running. There are some good ideas, but without any further development, you’re left with “that was a nice chord change” and then back to usual. On “deDance” the interlocking organ parts approach the kind of effect League of Gentlemen had, but the plodding drums and annoying vocals overshadow any interest the organ creates. There’s a fine line between lo-fi charm and pure ineptness, and Palocsay spends a little too much time on the wrong side of it to provide much enjoyment. I don’t doubt that he is capable of producing good music, perhaps in a band setting, but this set rarely rises above self- indulgent noodling. – Jon Davis
[Cog Factory, 3710 W 139th St, Cleveland OH 4111-4460]

Guillermo Fragoso – “Mexxico”

 (Smogless SR-2019, 1998, CD)

Fragoso practices a brand of swarthy, doomy ambient prog that bears the imprint of Peter Frohmader. Fragoso serves up dark, dank soundscapes with a love of low registers, thick textures, and timbres ranging from the velvety to the metal edged. Like Jeff Greinke and a host of Mexican composers (Jorge Reyes for example), Fragoso injects exotic touches: invocations of indigenous flutes or percussion, Bartókian “night music” (such as gentle chirps, twitters and rustles, the sound of distant wind heard in the quiet of the evening), evocations of the jungle and the like. There is also an ambient-industrial component such as the gentle clang of struck metal pipes, distant foghorn-like drones and other embellishments perfectly suited to the music. “NAGUel sacrificioALES”, a massive 22-minute tone poem, features a synthesized female chorus, violin, and a plethora of tone colors. Embracing elements of expressionism, impressionism and surrealism, it is a kind of aural radio play that conjures up dream-like images. One caveat is the use of synthesized drums that lend an artificial techno element to a couple tracks. Otherwise brilliant. – Dean Suzuki

Golaná – “Feather on the Wind”

 (Oginali OP-7777-2, 2000, CD)

Though Golaná (a.k.a. Scott Cunningham) plays handcrafted Native American wood flutes, his compositions have little connection the musical traditions of his Cherokee ancestors. Instead, the eleven tracks on his third album, Feather on the Wind, stand in the tradition of Windham Hill’s most quintessentially “new age” releases. Simple, melancholic flute melodies are accompanied by acoustic guitar, violin, cello, synth, and piano lines so sweet that they sound like they came straight from a George Winston release. Tempting though it might be to compare Golaná’s music with that of R. Carlos Nakai (another Native American crossover flautist), there really isn’t much in common. Nakai’s jazzy influences are wholly absent here, and Golaná’s compositions are gentler and more meditative. A more apt comparison might be mid- period Shadowfax, although the more synth-heavy tunes, like “Above the Sky”, sound like something you might find on an Enya album. Progressive rock it ain’t, but if you’re looking for something soothing you can relax to while taking a long warm bath, getting a massage, or just chilling out, then you might want to give Feather on the Wind a spin. – Jim Chokey
[Oginali Productions: www.oginali.com]

Tranzit – “Tranzversal”

 (Groove GR-051, CD, 2000)

Part of Groove’s label coverage includes electronic groups of a techno ambient nature, a style that I am not particularly fond of. This album by Tranzit starts off in that mode with the track “E-Drive”. Much too beat-oriented for my tastes and sounding like a rave Tangerine Dream, I was concerned about how I would like the rest of the music. Fortunately it is far better going after this, in that at least the more overtly mainstream elements of electronic music have disappeared. “Moravian Moondance” has a nice slow beat with lots of symphonic string synths, and although its beat is more lead-footed, “Niobe” is more of the same. The CD gets more textural with “Travelin’ Lite” and “Alexander”, which are nice, picturesque, symphonic pieces. Tranzit uses a lot of very big key patches, lush, modulated wedges that remind me of Vangelis or latter- day Tangerine Dream. The 7½ minute “Gathering of the Elders” is a superb textural piece with storm and water sounds and slow drifting chords in the background. The remaining music again shows Tranzit’s strong affinity with the music of 80s Tangerine Dream, including the 12- minute, White Eagle-like “Die Faktorel/Parallax”. A bit all over the map overall, with some scintillating highlights. – Mike McLatchey

Alo Mattiisen – “Read”

 (Maat, MAAT 513781-95-3, 2000, CD)

After some none-too-fulfilling encounters with the likes of Eloy Fritsch and Artemiy Artemiev, I was becoming weary of what my next task with reviewing synthesizer-based music would hold. Alas, this time it’s a winner! Alo Mattiisen, from Estonia, is in a class all of his own and cannot be likened to any other electronics composer I know of. Not that he doesn’t share certain artistic compatibilities; like Vangelis, he understands that you don’t have to abandon melody, tone, and musical motion, in order to create something that is atmospheric and mood- enhancing, without succumbing to the shallow sentimentality of popular New Age music. Furthermore, I detect that Alo has had some good solid classical training either in composition, or piano. Why? Because there is an understated confidence exuded on Read that doesn’t try to blow you away with Third World tribal magic, culture crossing, or cosmic profundity. Actually, Mattiisen’s music is very abstract, leaving the listener lots of freedom of interpretation. And yet every composition on the CD is devoted to a single motivic theme. Economy of means is something he never sacrifices; the sign of a good composer. Most often he keeps his musicality quite reserved and dispassionate, redolent of a temperament born in the icy environs of Northern Europe. Beauty, majesty, stillness and simplicity are what Alo captures most effectively. According to the liner notes, the work was composed for the Estonia National Library. I’m not sure what the implication here is; whether for archive purposes, or to be used as source material for films, etc. This is my first chance to hear his music and I hope it isn’t the last. – Mike Ezzo

Arturo Meza – “Borges”

 (Fundacion Jorge Luis Borges Argentina, 1999, CD)

It’s been so long since we have heard anything from this Mexican prog man that I was beginning to wonder what happened to him. Outside of various appearances with the likes of Nirgal Vallis and Jose Luis Fernandez Ledesma, I don’t think Meza has released any solo material in ten years. Well now he is back, and true to form, he avoids the conventional or the expected, with a conceptual tribute work commemorating the centennial of famous Argentinian author, Jorge Luis Borges. The idea seems to promise a lot, but unfortunately it is only about half of an album, clocking in as it does at around 25 minutes. Five middle-length tracks feature the recorded voice of Borges himself (on all but one), reciting from his works of poetry. But the recitation is kept at a low volume, allowing the emotional, operatic voice of Marisa de Lille to shine through. Meza colors the canvas with delicate backdrops of synthesizer and guitar, in small doses. Technologically his arsenal is less than up-to-date, which is probably for the better as it keeps his sounds more rooted in a timeless environment – though he could benefit plenty by a real percussionist in the one or two sections that feature electronic drumming. His creative realm is hard to pin down for sure; almost hanging in a new age setting, but vastly more dramatic and emotive, with a nod towards classical and baroque music to evoke that timeless quality which is a staple of his music. Arturo’s music rarely sacrifices that signature Mexican/European blend, its fragility perhaps threatened in a way that excites wonder as to when, if ever, he will bring forth a bold statement of intent. In the meantime I will never exhaust my fascination with his work. – Mike Ezzo

Peter Ulrich – “Pathways and Dawns”

 (Projekt 95, 2000, CD)

To me, at first this sounds a heck of a lot like Robert Wyatt vocally and Dead Can Dance (or other similar 4AD artists) musically. Ulrich has a thin, plaintive tenor voice that, like Wyatt’s, dances about in a free way over busy, rhythmically different music. Much of the backing music is sequenced or programmed (by Ulrich, John A. Rivers, or 4AD vet Brendan Perry, who also plays guitar), and one of the virtues of the album is its rich texture and mildly exotic groove. There are also hints of Irish folk music in many tracks, most apparent in “Life Amongst the Black Sheep”, which uses an oboe to underpin the jig-like melodies which frame the vocal sections. This album essentially amounts to a high tech stroll through an Irish countryside – an interesting idea, and one which I surely find relaxing, if not entirely satisfying. Ulrich’s voice seems to be an acquired taste, similar to Wyatt’s but not quite as articulate. The melodies and rhythms which form the background make great soundtrack music, but nothing I would listen to regularly. So basically, what we have here is a good album with good ideas which still doesn’t really grab me. A matter of taste, I’m sure, but nonetheless there’s little here you haven’t heard before. – Steve Robey

Hector Hernandez – “La Evocación de lo Sublime”

 (private release HFCD001, 1996, CD)

The up side of the modern availability of inexpensive digital recording equipment is that virtually anybody who wants to can put out a CD of their own music without having to go through the watering down process that can happen at a record label. The down side is that virtually anybody who wants to can put out a CD of their own music without the quality control that a record label can provide. Case in point: Hector Hernandez, a Mexican multi-instrumentalist with an ambitious solo project called La Evocación de lo Sublime. Parts of it are really pretty good. Hernandez is a dexterous keyboard player and a good guitarist, but his compositions aren’t very original, and his drum programming is downright annoying, with pounding simulated double bass drums. When not pursuing high energy instrumentals, Hernandez attempts quieter, almost ambient keyboard textures with philosophical- sounding titles. – Jon Davis
[Mz. G L. 7 C. 38, UH Llano de los Baez, Ecatepec, Edo. De Mex., C.P. 55050, Mexico]

Aelian – “A Tree Under the Colours”

 (Musea FGBG 4326.AR, 2000, CD)

Aelain is a 5-piece g/k/b/d Italian band that serves up music in the 1980s AOR rock style. The song arrangements are typically neat and clean and there are loads of melodic harmony backing vocals. Some of the lead vocals and guitar solos sound like something from a Bon Jovi or Scorpions power ballad. The title track is a good example of this. The über-melodic wall-of-sound vocals and guitar bring The Flower Kings to mind also. This band is clearly a happy bunch. Their arrangements are very pretty. There are some cool parts like the intro riff to “Underground” and the keyboard solo in “Dreaming What You Feel”, and the guitarist and keyboardist are solid players that can definitely play. Both of them mix their sound selection a lot with the guitarist playing both acoustic and electric parts. The keyboardist also covers lots of sonic ground with a variety of modern tones. Some of the lyrics sort of suggest sadness at times, but the music is just too damn uplifting for the down message to sound sincere. Bitter individuals who seek angst should steer clear, but fans of Billy Sherwood-era Yes, Asia, The Flower Kings, and finely crafted pop rock might dig Aelian. – Mike Grimes

Twin Age – “Moving the Deck Chairs”

 (Altair Music rhcd31, 2000, CD)

Ten years ago this would have been right at home on the SI label. For many readers, maybe that’s all you need to know. If you don’t know what that means, well, consider some of the more well-known names in neo-progressive music, such as Pendragon or iQ, and imagine that blended with a little Script-era Marillion and a strong helping of Signals- era Rush. Twin Age are a Scandanavian ensemble, so you will also want to throw in a vocalist who sings in English but can’t be understood without referencing the accompanying lyric sheet due to his singing in a distracting, heavily-accented non-native tongue. Truth is, vocalist Johan Hansson has a pretty decent voice which fits this style of music quite well, but the accent is quite off-putting. Guest performances by female vocalist Ida Ronn and cellist Petter Pettersson help to highlight some of the more mundane moments and breathe some life into this collection of songs that sound all too familiar. The band is rhythmically tight, with their strong energy being their greatest asset. Aside from the stylistic gaffes, their weaknesses include a low-budget, under-produced sound, and a pretty noticeable lack of any true melody on most of the tunes. However, if you’re a fan of the genre, then this is probably one of the best bets in recent months. – Dan Casey

Russ Tolman – “New Quadraphonic Highway”

 (Weed Records WEED 7901, 2000, CD)

Tolman is a singer-songwriter with a half-talking/half-singing Lou Reed style of vocalization. In other words, he’s got the vocal range of about five half-steps. This is not necessarily a bad thing; melodically yes, lyrically no. There are plenty of artists that get along fine with no great sense of melody; however, their lyrics are the showcase. Unfortunately, Russ Tolman does not fit into this category. His lyrics do not focus on anything unique. Instead, the lyrics are about rather mundane activities or situations without special insight about those situations. Instrumentally, the band is good. Stylistically, Tolman’s music has a nice country-rock feel to it. The recording and mixing is very good. However, the production could have been a bit more meticulous; the background vocals on the fade-out of track five, “How to do Everything Right”, are painfully flat. An artist such as Tolman must have lyrical quality and integrity as a foundation. Without it, he will be forgotten as fast as it takes to listen to something else. – Jerry Baiden

AO – “Grow Wild”

 (AO Music AOM0905, 2000, CD)

AO, which is Polynesian for light and illumination, is the duo of Nahoo (aka Ric Gannaway) and Jojo (aka Jay Oliver), a pair of Mid-Westerners with a strong affiliation for New Age spirituality. When I opened the booklet that came with Grow Wild, filled with “sacred geometry,” my New-Age-bullshit alarm started blasting at full volume. And certainly the first track, a short Polynesian poem recited by a young girl, did little to allay my fears. Fortunately, by the second track, “Chameleon’s Makebelieve”, things improved markedly. Singer Nahoo has a gentle yet earnest delivery that fits the folk-pop style of the material. Plus, the instrumental work is really quite good, even if it never extends much beyond acoustic guitar, Jojo’s relatively pared-down keys, and the requisite layers of ethnic percussion. Even more, what reaches across the New Age, shamanistic, earth mother messages is a convincingly powerful musical statement. These songs are full of sophistication, depth and maturity with plenty of excellent melodies and lyrical gems to spare. Their genuine charm and spirit are contagious and may even have you wearing tie-dye and growing your hair before too long. Fans of Jon Anderson’s more recent New Age forays are sure to like what they find here, as well as Earth brothers and sisters everywhere. – Paul Hightower

BJ Cole – “The Heart of the Moment”

 (Resurgence RES 107CD,1995, CD)

Veteran pedal steel guitarist BJ Cole became visible on the UK music horizon within several contexts by this release from his Transparent Music Ensemble in 1995. Since 1989’s Transparent Music solo release on Rykodisc, the soothing tones of his horizontal axe have been navigating suspiciously within alternating rhythmic contexts. This disc varies from moments of passive beauty (“Icarus Enigma”) to watery elements of ethereal surprise (as on “Forever Amber”). That’s due in no small part to the distinctive voice of viola player Ben Davies, who is prominent across the disc with his lead phrases. The opening track, “In at the Deep End (Titanic Elegy)”, features an impassioned theme lead by Davies along with violin from Bobby Valentino. A few tracks feature an unusual MIDI interface device, the IVL MIDI Controller, which Cole used to trigger synth-sounding passages. On “Eastern Cool” or “The Sand of Time”, the device simulates an alto sax lead, thus adding a jazz flavor to the overall mix. Keyboardist Guy Jackson is the other key contributor, having co-written two thirds of the tracks on the disc with Cole. “The Kraken Awakes” is probably the most ambitious track on the disc, with a sparse piano intro leading into a distorted theme seemingly from the depths. Overall the album is an excellent set of tone poems with uncommon arrangements and instrumentation. – Jeff Melton
[http://www.bjgj.com/bjtme.html]

l’Ange Vert – “Vol de nuit”

 (Ethnea ET.8809, 2000, CD)

Following quickly on the heels of Tempête et châtiments (reviewed in #20), l’Ange Vert’s fourth CD showcases live material from their 1999 tour. This French band’s lineup remains the same as ever. The band’s Celtic-influenced folk-rock sound is more aggressive live than in the studio—the guitars are more distorted, the drums more pounding, and the vocals rawer and more passionate. In concert, l’Ange Vert is reminiscent of Celtic rock in the spirit of Horslips— or possibly even to the Pogues (at least on CD closer “Tavarn!”). The ample use of harmonica on many tunes, however, adds a bluesy feel, while borrowings from Argentine and Spanish musical traditions give “Gardien de lumière” and “De Nantes à Marrakech” a different flavor from the rest of the disk. The sound quality, by the way, is excellent for a live album. Engineer Michel Bérault has provided a balanced mix in which audience noise is only audible before and after the music— and on the two tunes where the audience is asked to join in singing the chorus. This should appeal to prog-folk fans who’ve enjoyed l’Ange Vert’s earlier releases, and may even win over skeptics who felt that the band’s previous CDs weren’t quite rocking enough. Symphonic rock and RIO purists, however, will still probably prefer to give this a pass. – Jim Chokey

Tempest – “Live at the Philadelphia Music Festival 1999”

 (private release, 2000, CD)

It’s about time that these Bay Area Celtic rockers released a live CD! Impressive as Tempest’s studio releases have been, they’ve never come close to the essence of the band’s live performance. In concert, Tempest has an intensity that somehow gets a bit watered down in the studio. There’s one lineup change on this, Tempest’s eighth album: newcomer Todd Evans has taken over guitar duties from Greg Parnall. Otherwise, the lineup is the same as on 1998’s The 10th Anniversary Compilation: Lief Sørbye provides lead vocals and plays double-necked electric mandolin, Michael Mullen fiddles an electric 5-stringed violin, John Land handles the bass, and Adolfo Lazlo pounds the drumskins. Only seven songs are on this 41-minute CD, but they’re diverse enough to convey the breadth of Tempest’s repertoire and to give a sense of their live presence. The performance is energetic and showcases the band’s talent for tight ensemble playing at the same time as it allows individual members the freedom to improvise and to add some playful humor (e.g. Sørbye’s insertion of a classic Black Sabbath riff into his signature solo in “The Karfluki Set”). On the down side, there are a few mix flaws here. Specifically, the drums aren’t quite loud enough, Sørbye’s voice is slightly distorted from the PA-system, and there’s some audience noise during the songs (clapping along, mostly). Because it’s short and has these mix shortcomings, this CD may not be the best introduction for newcomers, but those who’ve already come to enjoy Tempest’s brand of hard-edged Celtic rock will find listening to this to be almost (but not quite) as enjoyable as attending one of their shows. – Jim Chokey
[http://www.tempestmusic.com]

Frank Van Bogaert – “Docking”

 (Groove GR-043, 2000, CD)

Van Bogaert’s electronic leanings remind me a lot of 70s Vangelis and more symphonic-oriented electronic music like Tomita or some Kitaro. Throughout the 11 tracks on the CD, there is a tendency toward the orchestrated, bombastic and sweetly melodic. Whether the style is a TD-like, sequencer-led piece or one fronted by a much more prominent beat rhythm, the accent is usually on a grandiose soundtrack-like thematic movement. Examples of this are “Churches”, which fades in slowly with warm synth patches, develops a sequencer rhythm and line, and then starts its thematic development with a church organ patch, and “Hymn”, which evinces an extremely romantic flair that often dominates Van Bogaert’s music. Van Bogaert’s strengths are definitely in his playing, as can be seen on the fluent piano in “Beauty” and “Epilogue”, and his melodies are developed and well-played. Yet only those with the taste for the sweet will be able to absorb more than a minimum quantity of this constantly dramatic music. Tracks like “Guitars” and “Landfall”, with their boppy dance rhythms are just well outside my tastes. – Mike McLatchey

Preston Reed – “Handwritten Notes”

 (Outer Bridge Records OB 1001, 2000, CD)

If you think that the acoustic guitar is a conventional instrument then you haven’t heard Preston Reed play it. Combining a tapping approach that is considerably evolved from the style of the late Michael Hedges, he also generates a vast number of different percussion sounds from the body of the guitar itself. Most of the time utilizing a left hand that drapes over the top of the fretboard rather than under, Reed’s revolutionary approach to the guitar typically leaves concert audiences astounded. The beauty of Handwritten Notes is that the technique never overwhelms the compositions. While there are many aggressive, high- energy tunes like “Accelerator” and “Shinkasen” (written about the Japanese bullet train), the album is exceptionally well balanced with quieter, more melodic songs. “First Summer Without You” displays a heartbreaking beauty that recalls the subtlety of pianist Bill Evans. Reed also returns to his fingerpicking roots at times and even serves up a nice dose of blues on “Lost Time”, both of which add a human touch to the proceedings. This is quite possibly the best album that Preston Reed has recorded in a stellar fourteen album career, and is highly recommended to fans of instrumental acoustic music. – David Ashcraft

Darren Stroud – “Guitar Absolute”

 (YuniVision JYD-DS03, 2000, CD)

On Guitar Absolute Darren Stroud plays all guitars and plays bass on most tracks. Tones range from warm, clean jazzy tones to more distorted offerings. Stroud presents a balanced sense of structure in his compositions. The first track, “Trip”, is his most distinctive track and features an awesome and melodically complex solo. On “Cool Cat Daddy” he lets his jazz hair down. However, his rock chops far outshine his jazz chops. Stroud’s jazz lines lack an experience and confidence akin to his rock playing. “Lickity Split” is a bluegrass influenced ditty with Darren soloing on dobro. This track is technically impressive, but feel- wise a bit stiff. There is a definite Satriani influence, especially on “Cup of Joe” (that one’s real obvious) and “Disturbed”. A feeling of youthful expediency and energy permeates much of the CD. Stroud at times plays some very amazing things; however, he doesn’t often encase those wonderful things within a statement that lets the listener digest it fully. A track where he accomplishes this is on “Dancing With Chains”, a bluesy ballad where he takes his time and develops the mood and feel of the song. For a rock guitar gun-slinger, composition is the actual defining point. Should be interesting to see Stroud develop further. – Jerry Baiden
[http://www.redbeansandrice.net]

Keith Jarrett Trio – “Whisper Not”

 (ECM Records ECM 1724/25, 2000, CD)

Recorded in mid-1999 in Paris, Whisper Not is the first recording of the trio since Jarrett took a health break in 1997 and 1998. He suffered from CFS (chronic fatigue syndrome). To do a whole gig then seemed impossible. He did manage to record himself at his own studio playing rather short tunes, mainly jazz standards, one at a time with long breaks in-between takes. These songs are compiled on a brilliant CD entitled The Melody At Night, With You. A must-have and a very numerous listen for any Jarrett fan. As for Whisper Not, Keith Jarrett, Gary Peacock, and Jack DeJohnette are now the greatest jazz trio around. They’ve been together as a trio for about 20 years. They’ve always been good, but they have consistently gotten better with each passing year. Keith is understandably not as “vocal” on this recording, and this might be good thing for those who find his vocalizations at all annoying. However, his playing seems to have benefited from that two year CFS break and a lot of musical introspection. He’s playing better than ever, more mature and musical, delving deeper. Every track is an intriguing balance of intuitive interplay between the players and outright, yet very seasoned, monster chops. Along with standards such as “Round Midnight”, “Groovin’ High” and “What is This Thing Called Love”, there are two Bud Powell tunes, “Bouncing with Bud” and “Hallucinations” – all killer takes. Their interpretation of ballads such as “When I Fall in Love” is absolutely breathtaking. This is obviously a highly recommended disc. Get up and get it! – Jerry Baiden

Robert Carty – “The Inexplicable”

 (Deep Sky (no catalog #), 2000, CD)

Robert Carty is an independent musician who runs his own label and releases several CDRs a year in a variety of electronic styles. He has an enormous back catalogue that I have only begun to tap, but on the few that I have, the quality of music is impressive. The Inexplicable is one of his most recent productions, and it is an epic electronic album in the cosmic/space vein. It is a five track album, but there are basically two titles. “Dark and Drifting” is exactly that, a two-part suite that is full of cosmic synth drones and accompanying sound effects, both synthetic and percussive. It reaches an ethereal note similar to the drones found on David Parsons’ Himalaya or Yatra, a blissful feel with a hint of mystery and the profound. The three-part, over 30-minute “That Desert Feel” also starts in cosmic style, but sequencers also come into play as the track progresses, giving it a quicker pulse through the second part. It has a slow gentle fade out towards the end with soft, shifting, synth patches. Listeners of Parsons, Klaus Schulze, and other cosmic synth music should be sure to check this out. – Mike McLatchey
[Deep Sky Music, 5478 S. 235 E. #E, Murray, UT 84107]

James Johnson – “Entering Twilight”

 (Hypnos hyp 2024, 2000, CD)

This 66 ½-minute, one track CD reveals a style that may be part of the lineage of positive, gentle, cloudy ambient music that one finds on Steve Roach’s Quiet Music albums and in early Eno. It is a relatively low volume piece of music with gentle, melodic notes resounding and fading in and out of the deep. It differs from a lot of the Hypnos catalog by being a lot more sweet than much of the abstract music on the label, an ethereal type of ambient drone music that is immensely relaxing to listen to. It more or less fills the space for an hour with bell tones, soft voice-like chorales and lots of resonant ambiance. The notes drift on the winds rather than work as distinct melodies, almost like MIDI controlled wind chimes. The title, Entering Twilight, is aptly descriptive, an album perfect for all-night repeat sessions. – Mike McLatchey

Music from the Future – “Mind Trips”

 (Private Release, 1999, K7)

Music from the Future – “Random Noise Generation”

(Private Release, 2000, K7)

Music from the Future is the recording name of Marcel Peelen, a Dutch native who now resides in the United States. A certified therapeutic recreation specialist who seeks to use synthesized sounds and music to help stimulate learning and overcome depression in children, he also composes and performs music for its own sake. Although Peelen cites Keith Emerson as his greatest influence, his music— at least on these two cassettes— has little in common with ELP or symphonic rock. Instead, it stands firmly the tradition of German electronic music such as what was pioneered by Tangerine Dream, Cluster, Klaus Schulze, Krafwerk, et al. A 90-minute cassette, Mind Trips has eight songs, including two short pieces at the end of each side that are labeled as filler. The first song, entitled “Frantic”, is aptly named. Its club-like percussive beat (synthesized electronically, of course) drives forward relentlessly, while futuristic bubbles, whistles, and R2D2esque squeals convey a disturbing sense of urgency. The remaining tracks are slower paced, generally falling halfway between late-70s Kraftwerk and Tangerine Dream, with layers of repetitive percussive lines and sequenced pulses used to create throbbing eddies of swirling sound which are in turn layered between shifting low-range drones and incidental high-range sound effects. There are also a few moments in “S’99” that evoke the spacey ambience of Ozric Tentacles' Strangeitude, intermingling it with a synthesized simulation of whale- song. Overall, the compositions are engagingly developed, although the 34-minute “Experiment 23” does meander a bit.

Random Noise Generation is a deceptive title. Although there are swoops and bursts of seemingly random sounds interspersed here and there, the eight tracks on this 60-minute cassette are, for the most part, structured compositions. There is more variety here than there was on Mind Trips, which does suffer from a bit too much stylistic sameness among its tracks. Cassette opener “Echoes” comprises multiple layers of electronic percussion, woven together so as to create a pounding, rhythmic tribal dance, while the three tracks that follow are in the spirit of pre-Phaedra Tangerine Dream. The 14-minute “Sonar” shares the high-speed trancedom of the previous album’s “Frantic”, the title track is spacey and minimalist, and album closer “Birthsong” is a short, melodic piece in the spirit that perhaps owes more to Jarre or Vangelis than to the German electronic artists. As electronic music has never really been my favorite cup of tea, these cassettes are probably never going to get heavy rotation in my tape deck— but I still find them to be interesting and competently done. Folks who appreciate the genre more than I do, however, may well find Music from the Future to be a real treat. – Jim Chokey
[http://www.peakpeak.com/~synthman]

Ash Ra Tempel – “Gin Rosé”

 (Manikin Records MRCD 7049, 2000, CD)

This CD is a concert by Klaus Schulze and Manuel Göttsching which took place in April 2000 at Royal Festival Hall, presumably the site of earlier Schulze recordings of the same name. Not surprisingly, the end result sounds much more like Klaus Schulze’s In Blue, a solo 1994 recording which just happened to feature Manuel on part of it, than it does Ash Ra Tempel, as Hartmut Enke declined the reunion. Laid back synths and drums from Schulze create a backdrop for Göttsching’s always accomplished guitar. After a somewhat rocky start with some overly shrill electronic noodling, things get going in fine form within the first five minutes. The recording flows nicely, exploring mostly relaxed laid back atmospherics and guitar, though occasionally the energy really gets charged up, particularly at the climactic finish. In between, Göttsching serves up some tasty guitar morsels, ranging from some plucky, twangy bits in the early going, to some searing electronic work in the middle, and finally some flamenco flavored playing during “Eine pikante Variante”, a variation on the track “Pikant” from the studio companion CD, Friendship (reviewed in #21). With the exception of the first few minutes, the music is right on target. Rather than breaking any new ground, the music is familiar and comfortable, the sound of old friends being reacquainted. The end result is smooth, cool, and relaxing. – Phil Derby

Fonya – “Sunset Cliffs”

 (Red Shift Productions RSCD2001, 2000, CD)

Those expecting the usual collection of Yes-inspired sci-fi instrumentals from Chris Fournier this time out are in for quite a shock. For one thing, while the overall sound and production quality is the same, there’s much more guitar on Sunset Cliffs than on past albums. But more importantly, Chris has obviously decided that it’s time to get some things off of his chest, and so for the first time on a Fonya CD most of the songs feature vocals. I think even Chris would admit that he’s not the world’s best singer, though he might also figure that if people can get used to Steve Howe’s singing, why not his? What he needs to realize, though, is that even with the most vocal-heavy albums, Howe intersperses instrumentals with the vocal tracks to relieve the suffering of the listener. Still, there’s a place for social commentary from anyone, and it’s probably healthy for Chris to make his case so that he can go back to doing what he does best. I have only one gripe with the songs here and it’s a minor one; they don’t resolve. They explore interesting places and deliver nice ideas but then tend to just peter out at the end. If Chris can learn something from Yes, it’s the art of an effective ending. The instrumental portions of the songs are still quite nice, so if you can stomach some bad singing, the sum result may be positive after all. – Paul Hightower

David Davidson – “Celtic Fantasy”

 (Green Hill GHD5191, 2000, CD)

There are loads of musicians trying to cash in on the Celtic music craze, and here’s another. This quote found on the Web site should be warning enough: “David’s passionate use of violin and strings in all forms of commercial and concert music lends him an artistic edge.” Oh, brother! Fans of Secret Garden may warm to these lushly romantic arrangements for violin and accompaniment, though the rest will need a pretty thick skin for these 14 saccharine-sweet, faux-Celtic ditties. To be fair, some tracks like “Summer Skye” and “Mo Cairenn” aren’t bad for what they are, and compare favorably to certain Northside artists and recordings. Others, such as “The Fianna Battle Song”, even have David Arkenstone’s sense of cinematic verve. Unfortunately, though, most fall into the “soundtrack for a Harlequin romance” category as best exemplified by “Brighid’s Blessing” and “The Knowing Tree”. Celtic Fantasy will no doubt appeal to some of you out there, though the schmaltz factor was just too high for me. – Paul Hightower

Susanne Lewis – “Susanne Lewis”

 (Sedimental SEDCD027, CD, 2000)

Vocalist Susanne Lewis finally steps out into her first true solo album, nearly fourteen years after her most notable stint as lead singer for Colorado’s Thinking Plague. She’s also done a few recordings with Chris Cutler (Biota’s Object Holder) and undertaken a few projects on her own (Hail’s Kirk, or How to Live with a Tiger with Azalia Snail). Despite the lo-fi recording technique and lack of high production values, the nine tracks here, recorded across the past five years, are endearing and much better than your average alternative singer/songwriter. All vocal arrangements and guitar work, except a thrash solo on “Golden Imbued”, are done solely by Lewis, while drums are handled by three different contributors including Clem Waldmann from techno cult band UI. “Local to Headtrip” features a fuzzed-out lead while describing a confusing love scenario. “Pill Popping Nation” is akin to a surf ride run amok. “Cherry Blossom” seems to occupy a modal area somewhere between old Cocteau Twins and the Roches’ acoustic albums. The album pegs Lewis as a keen songwriter for the traditional g/b/d instrumentation, but with a knack for a catchy REM-like hook (“Sunny/Warmer”) as well as the obtuse ballad (“Five Shades of White”). For my money, my bet is on seven-minute closing track “Sunrise”, which fans of “the Plague” will embrace as a next-of-kin to the sensitivity she added to that classic release, In This Life. Overall the album holds up as a brighter and less disturbing contrast to fellow Plaguer Bob Drake’s manic, but especially wonderful discs. – Jeff Melton

Calix – “Cancoes de Beurin”

 (Sonopress CLX-01/00, 2000, CD)

Calix is a young Brazilian band that seems to strive for an early 70s rock sound as opposed to strictly prog, with easily grasped melodies and song structures, and a dominant Anglo-American feel. Chord progressions, melodies, rhythms, and leads are rarely unusual, sticking more to the tried and true. The disc starts on a very high note with “Dança com Devas”. I can’t get Horslips out of my mind here due to its lead vocal and flute, rhythm mandolin, and its uplifting seafaring melody. Ditto for “O Sonho”. Other instruments are the standard g/k/b/d, with prominent acoustic guitar, piano and soloing flute. The only other keys of note are some occasional Hammond flourishes. The tones are very nice, though they certainly could stand a bit more bite occasionally. Track four, “Kian”, is the first track with an ethnic tinge. It has a cool choral vocal line and is ultimately one of the high points of the album. Low points are “Nao Se Lebram Do Que Sao”, which starts like latter- period Caravan before the awful “ba-da-da-ba-da-da” pop chorus, and “No More Whispers”; good English pronunciation doesn’t save this unfortunate 38 Special-type southern rock ditty. “Pra Hoje Um Sol” is a bit too delicately lilting and sounds a tad trite as a result. The Allman Brothers come to mind on a couple of tracks due to the occasional slide guitar style (more like polished Betts than wailing Allman), and some tracks have a mild folk influence. A few songs are in the modern Italian- French neo vein, or at least hint of it. “Aguas” is rather nice, starting out in an old space folk mode and building to a more forceful rocker, again with a bit of slide guitar. Calix does some things very right, and others just aren’t as interesting. – Mac Beaulieu

Sigmund Snopek – “Trinity Seas Seize Sees”

 (Musea FGBG 4330.AR,1974/2000, 2CD)

Though best known as the keyboardist for the Violent Femmes, Sigmund Snopek’s first and greatest accomplishments have been in progressive rock. A three-act rock opera written in 1973, Trinity Seas Seize Sees was by far this Milwaukee native’s most ambitious work. Only nineteen of its songs got recorded at the time, and only seventeen of those appeared on the 1974 album release of the first act. For various reasons, Trinity drifted onto the back burner, where it remained until Snopek began to breathe new life into it in 1996 by starting to record the remainder of the opera. Completed at last, the opera appears in its entirety on this double-CD set, utilizing both the 1974 recordings and those done in the past four years. Two hours long and comprising 48 tracks, Trinity is a difficult work to describe in a brief review. Partly humorous, partly serious, it presents an interplanetary allegory of freedom, domination, war and redemption that stands halfway between the silliness of Daevid Allen’s “Planet Gong” mythology and the cryptic spirituality of Magma’s Kobaian cycle. Musically speaking, Trinity’s in the same camp as Snopek’s two other reissues, Who’s Afraid of Virginia Woolf and Nobody to Dream, although comparisons to early Zappa and Aphrodite’s Child are also appropriate. As always, Snopek uses a wide range of instruments and guest musicians to interweave pop, psych, jazz, spoken word, classical, and choral music into a complex, yet seamless whole. The material recorded in 1974 leans in a psychedelic direction; especially on “Waukesha Windows” which sounds like it came straight from the year 1969. The recently recorded songs, by contrast, have heavy space rock inflections. Still, the whole opera manages to come together stylistically— a true testament to Snopek’s talent as a composer and arranger. As quirky as it is sublime, Trinity Seas Seize Sees may not immediately appeal to everyone, but those who have acquired a taste for Snopek’s brand of prog may well consider it to be a masterpiece. – Jim Chokey

Audra – “Audra”

 (Projekt 101, 2000, CD)

Voltaire – “Almost Human”

(Projekt 98, 2000, CD)

Audra captures the factory sound of the late 70s, of bands like Bauhaus and Joy Division. Their debut CD opens with a tasty little bit of nostalgia. “In All Our Androgyny” features an addictive bass line, simple percussion and a catchy, repetitive guitar lead. Enter the bass tones of yet another Peter Murphy imitator and you have it. Audra combines the dark pop of the gothic scene with a strong sense of the past. I find Bret Helm’s voice captivating, hauntingly familiar but with enough originality to savor. I would describe this album in the same way. Bret also plays bass and keyboards. His brother Bart (guitar, drum machine) rounds out this Arizona duo. If this CD had been trimmed to 45-50 minutes this would have been an outstanding release; as it is I find myself tiring of it at times. Strictly for fans of the above mentioned bands or all you prog- goth types.

“God thinks you’re an idiot.” So sings Voltaire. Voltaire comes off a bit heavy, but luckily he doesn’t seem to take himself as seriously as you would think. Voltaire’s voice reminds a bit of Morrissey (The Smiths). Almost Human is sung from the viewpoint of Lucifer and is strong on clever lyrics. Voltaire’s goth-pop isn’t run of the mill either, featuring a violin as a lead instrument. Admittedly I wasn’t expecting much from this one but the irreverence of “God Thinks” hooked me. Also of note are “Dead Girls” (“Have you ever loved someone who didn’t hurt you…There’s no shame, there’s no pulse!”), and the cute lyrics of “Alchemy Mondays”, in which we catch Lucifer after another night of partying. Hip gothic cleverness you might enjoy. – Dane Carlson

Theta – “Seeds of the Dream”

 (Musea FGBG 4332.AR, 2000, CD)

Although the 80s produced a spate of Japanese sympho bands, in recent years one tends to think of Japanese progressive music in terms of Zeuhl (Ruins and related Yoshida projects) or the avant-garde (Tipographica, Il Berlione). Thus it might come as a surprise to find out that Japanese sympho is not down for the count. Theta is a new Japanese quartet playing in the conventional symphonic style. Female vocals are in both English and Japanese, and fans of Japanese lyrics translated hilariously into English will find some of that here. The basic band instrumentation is drums, keys, bass and flute, with guests on violin or guitar depending on the track. As one would expect from a band without a lead guitarist, this is not particularly aggressive music, and there is the occasional risk of entering wimpy terrain. For the most part, though, this is pretty music, and while unencumbered with excessive technical virtuosity, it has a refined power behind it all the same. The vocals are at their strongest when they stay in the mix, as there is a noticeable strain as the vocalist nears the top of her range at full volume. My tastes tend to run towards more vigorous material like Kenso and Ain Soph, but the grace and elegance of this band is still noteworthy, and followers of the Japanese scene will want to investigate them. – Sean McFee

Anscha – “Anscha”

 (Anscha Records, 2000, CD)

This is a very good example of good “musical” ideas ruined by an out- of-control singer. “Musical,” meaning instrumental ideas. The vocalizations of the singer, Andreas Hagen, simply overwhelm the listening experience with a cluttering confusion killing off any hope for a substantive statement from this band. Hagen’s vocalizations are indecipherable gibberish, sometimes sounding like he’s singing while flapping his lips with his index finger. He actually never sings a recognizable word even in his native tongue of German. The instrumentalists, Robert Fechtig (bass, guitars), Andreas Ruf (keyboards), and Christian Donfeld (drums) are very good on their own. They have a jazz-fusion sound with nice ideas and chord changes throughout. Unfortunately, it’s the vocalist’s band, and for this reason, this CD of over 68 minutes makes for an incredibly tedious listen. – Jerry Baiden
[Tel. 08321/1741]

Mythology Bullfinch – “The Age of Chivalry”

 (private, 1999, CD)

Mythology Bullfinch – “Songs From the Age of Fable”

(private, 2000, CD)

This oddly entitled outfit seems to get their influences as much from classic and psychedelic rock as progressive rock. The Age of Chivalry is mostly a guitar, bass and drums affair, with frequent spots for vocals and narration, and operates in the area somewhere between Jethro Tull, Blue Oyster Cult, Black Sabbath and Tommy-period Who. There are 18 tracks on the first title which tend to come and go at an alarming rate. Some of these are short trippy segments just under a minute, while the rest follow typical structures at about three to four minutes a song. The songs are relatively straightforward with verses and choruses, and seem a bit amateurish in execution, with lots of three bar chord sequences. The vocals are a bit shaky, and although the ensemble singing is not bad, sounding like something from an Ant Bee psych album, the solo vocal parts sound very overextended. It’s a bizarre rock album, a bit lacking on the compositional side, but at times sounding very unusual and different, with lots of psychedelic effects and instrumental treatment. The EP Songs From the Age of Fable is generally a more professional effort. The production sounds better and the band is a little tighter. Same modus operandi as Chivalry, although the psychedelic approach is less pronounced here, leaving this much closer to the realms of mainstream rock. I hear a little more Beatles and Roger Waters in the sound, but again, I don’t find much to dig into in the song structures and the entirety leaves me feeling a bit lukewarm. – Mike McLatchey

Remy – “The Art of Imagination”

 (Groove GR-048/AKH 09001-2, CD, 2000)

The Art of Imagination is a series of six musical images in the European electronic tradition. The first is in a melodic, minor key with shakuhachi- like patches intoning over some deeper orchestral strings and clavinet- like meandering, an approach similar to some of Schulze’s 90s synth music. The second reminds me of some of Tangerine Dream’s early to mid 80s soundtracks like Thief or Risky Business. Here, a slow sequencer backs up melodies that tinker around but don’t really go anywhere. The third image has a subtle rhythmic pulse that moves briskly along, allowing a number or piano-like sounds and strange mutated synth effects to swirl over it occasionally. “Image Four” is very much 70s Schulze. The slow building sequencer line and minor keys are rather typical here, but over the course of the 16-½ minute track, there are enough changes in dynamics and mood to keep it interesting. The fifth image is another long one, more in the sparser early 80s Schulze vein, like Audentity but sustaining a melodic element towards the end of the song. The last image reminds me of some of the more ambient moments of Underwater Sunlight. It provides a more reflective, symphonic coda. As an entirety, the music is competently rendered, but well-worn stylistically. – Mike McLatchey

Azazello – “Black Day”

 (Moonchild 34926, 2000, CD)

The electronic drum kit will undoubtedly make or break one’s opinion of this release by Russian prog-metal quartet Azazello, depending on your tolerance for such a mechanical backbone. And if that wasn’t enough, the vocals can be hard on the ears too, especially in falsetto range. So be warned. The band sticks to a mostly melodic, symphonic hard prog rock format, and thematically it is both a bit naïve, yet carrying with it a promise of better things. The style reminds me of A Piedi Nudi’s approach, with its linear sequence of events that includes breaks with solo piano, dramatic, epic vocal segments and metallic chugging sequences. Azazello also bear resemblance to Magna Carta bands like Magellan, especially style- and tone-wise, yet are still well enough behind rookie lines to not compare favorably. Azazello are just not quite at the level to make what is essentially a good faith effort work right just yet, and the loud, obnoxious drumming really makes it difficult to listen around. Too ambitious a bit too soon. – Mike McLatchey