Tuesday, February 28, 2006

solo crash

Sheeesh... We vanish again, but we bring it back with some hot layers. Who knew this was out there? Debut solo percussion album from Chris Corsano -- he dragged everything from workshop (yeah, that sink too) and straped it on his kit. Don't think anyone able to partake in the fullness of this UK-tour CDR goodie, The Young Cricketer, will be able to wrap their steam fully around. Prior JFAD posts have talked up Corsano -- partner to sax player Paul Flaherty and regular collaborator with Nels Cline, J/O'Rourke, Sunburned, Joe McPhee, etc. etc. -- cause his hand/arm, leg/knee beat patterns and abstracts, are so here and there.
Most of the pieces here sound like they been manipulated or are a duo (hell, maybe a trio) of violin (or sax) and drums. But it is all solo, no overdubs (except for the final 'bonus' track which seems to be a 'remix' or something). Corsano bows the drum heads, cymbals and who knows what else into multi-layered group sounds that stand next to Tony Conrad or barbed wire, mixed with deep gurgles, squeeking metal and jumping, funky beats.

Chris Corsano - How Should You Throw It On Other Occasions?
Chris Corsano - How Will You Learn More Successfully From Your Coach Than By Just Looking and Listening?

Tuesday, February 14, 2006

solo beats

Thomas Strønen's debut solo album Pohlitz ( Rune Grammofon) is quite as dandy as I hoped it'd be. On the inner sleeve "recorded with no overdubs or pre-programming" is the first liner as to answer the question right off. Cause, Strønen ping/pongs from skeletal Reich percussive patterns to the more illuminated electro-acoustic mirages that Glenn Kotche's own solo albums hinted at, even Cage's prepared pianos seem to errupt throughtout. The tid-bit that this is all live, adds deeply to Strønen sense of composition and ability to keep these pieces evolving, almost unraveling at time, while adding a considerable melodic hue to all of the pieces. He clearly shaves his own path as you hear the reverberations from his other groups Food and Humcrush but comes off still as solo Strønen.

Thomas Strønen - Ingenious Pursuits

Monday, February 13, 2006

keep on doin' it

Sorry for the week off folks, Eric and I each had birthdays and needed some R&R. Backatcha...

People constantly question the coolness of the Hoosier state that I reside in. What little they know. While we might not have the constant abundance of the huge cities on the coast or Chicago, we have our own thing going on. One man that has been helping document the goodness from the heartland for years is Jason over at Indiana 45s.

He has built the world's largest repository of information on Indiana recordings and it is growing bigger every day. Perhaps you've already dug some of our lost grooves on Stones Throw's excellent Funky 16 Corners comp, which is heavily-tipped with home cooked goodness. Jason was kind enough to recently forward me a mix of more hot IN cuts and allowed me to share with all. Dig in:

Hamilton Movement - She's Gone
Presidents - Shoe Shine
Mr Gee and the Fifth Generation - We've Got a Funky Feeling
Soul Authority Unlimited - Get Up Off it Baby
Little Murray and the Mantics - Goddess Above
Rhythm Machine - Freakish Love
Allison and Calvin Turner - Keep On Doing It
Black Conspirators - Got To Be Free
Hamilton Movement - Love Circuit
Amnesty - Oh Lord, Help Me

VA - Indiana Funk Mix

Friday, February 03, 2006

the devil lives in my husbands body

Pulsallama was a short-lived, yet legendary, 12 piece all-girl percussion band who ruled Manhattan nightlife for a brief period in 1981 and 1982. Their sound has been described as "13 girls fighting over a cowbell."

In early 1982 they were asked by Elliot Sharpe to contribute a song for a flexidisc to be distributed in a magazine. Since it was a freebie, they decided to give him their most retarded song, May. With portable tape recorder in hand, he came to their rehearsal studio to record May for posterity, but as soon as he arrived, the gals started brawling. The fighting became so intense it disturbed the derelicts outside, who began screaming and pounding on the door. The band snapped out of it and settled down to do the song. During the song, the drunks started banging and screaming again, or so it sounds. It's hard to tell; it might just be Pulsallama.

In May 1982 the band went to Intergalactic Studios, where Planet Rock was recorded, to cut their first single. While they waited hours for the engineer to show up, they were treated to the Planet Rock show tape hundreds of times, which rattled the battle prone babes' nerves. The resulting brawl nearly got them thrown out of the studio. A couple days later they were off to Asbury Park to open for the Clash, where an adoring audience of 6000 showered them with coins and cups of beer. Pulsallama's single, Devil Lives in My Husband's Body (released on Y Records) became a minor college radio and cult hit.


Text taken from Dyxploitation's awesome Girls of the 80's East Village Sound Gallery.

Pulsallama - Ungawa pt. 2 from NY Noise 2
Pulsallama - Oui Oui
Pulsallama - Pulsallama on the Rag

Thursday, February 02, 2006

ghosts alive

Trumpet player Don Ayler’s discography as leader is a floating whisp of air compared the the still expanding cannon of older brother Albert. When Revenant issued the Holy Ghost box the first disk I put on was #7 for the two '69 live tunes by his sextet, "Prophet John" and "Judge Ye Not." The brass blare Don shot out, seemed to slide between galloping swing dissonance and an odd Spanish flare -- a sound that has erupted across Albert's albums with Don as sideman. Outside of those two treats, Don also recorded an album for Amiri Baraka's (aka Leroi Jones) Jihad label. It remains unissued.

In 1981 Don went to Florence, Italy, did some shows and the result was a triple LP set, Don Ayler In Florence 1981 on the local Frame label. The entire July 18 concert at Theatre Andromeda is included on the six-sides. Why these LPs have not been reissued -- who knows. Though for those expecting the squeal and squawk of Albert or that barely harnessed ecstatic pulse peeked at in the Holy Ghost be aware that those flares are sparse. Nonetheless, Donald sounds pretty damn strong at times. Possibly his last recorded date?

The line-up for the concert is: Don Ayler (trumpet); Abdul Rahim Mustafa (reeds); Frank Doblekar (tenor sax); Anthony “Tony” Smith (piano); John Davis (guitar); Richard “Radu” Williams (bass); Jerry Griffin (percussion).

From Gianfranco Cascella liner notes: When Albert died under mysterious circumstances Don was silent for many years, and only very recently his painful and emotional voice is heard again. This voice gives sound to the authentic and original music of Don Ayler, lyrical and with the full authority of a jazz-tradition, firmly anchored in the styles of a Roy Eldridge or a Frankie Newton, wedging itself into the bop and post-bop era of a Dizzie Gillespie or a Clifford Brown. In Don we can always feel the presence of the old traditions; whereas Albert expresses himself in an angry shout, Don turns towards a subtle, melancholy gasp, often motivated more by feeling than by formal technique. The drama lived by Don in his music has no longer the tragical connotation of the free jazz of the sixties. His approach is a more personal emotion whose drama results from bad experiences in life, without probing for the cosmic and omnipresent expansion that sought expression in his brother's music.

There has been multiple talk over the years about a Don Ayler book or documentary to answers many of the questions associated with the death of his brother -- when it happens, Patrick Regan's ayler.org will know it first.

Donald Ayler - The Bebop Tune

Wednesday, February 01, 2006

burnin a roach

Why am I such a sucker for shoegazin'? Ever since I first set my ears upon the first wave of the wall of noise back in high school, I couldn't get enough. Maybe I just keep trying to recapture my youth again and again, which is weird cuz the teenage years weren't all that.

These very cosmic psych-waves hit North America around the same time and we got a scene all our own, as well. The fertile New England scene housed our own version of noise-pop: Mercury Rev, Yo La Tengo, Swirlies, Lilys... the stuff was everywhere. And now it seems I keep reading that people think that the ole shoegazin is going to be making a come back. I say its been here the whole time, its just been ignored.

And now the same Richmond, Virgina soil that birthed the reverb drenched and haze influenced "post-rock" of Labradford and minimalism of South and Patrick Phelan has now begat Gregor Samsa. Their new full length, 55:12 is set for release on March 6th from Kora Records. Boy/Girl vocals that are sometimes over stark arrangements a la Low and other times over the shimmering crescendos of GYBE or Explosions.

Gregor Samsa - Young and Old from forthcoming 55:12 LP
Gregor Samsa - Three from 27:36 EP
Gregor Samsa - Two from untitled EP