With only a little glibness, one could call Terje Rypdal’s second LP as a leader a Scandinavian counterpart to the best electric-era Miles Davis output (On The Corner, Get Up With It, A Tribute To Jack Johnson) And it’s not just me who thinks this. A sage critic at the British magazine Melody Maker suggested that Miles should’ve tapped the Norwegian guitarist to replace the departing John McLaughlin from his band; alas, that never happened, and we are all the poorer for its non-occurrence. Regardless, Rypdal went on to cut some fantastic records with Germany’s revered ECM label, including this phenomenal sophomore effort.
I first heard Terje Rypdal on Kinski guitarist Chris Martin’s KBCS Ampbuzz show in the mid ’00s. Martin played the album’s lead-off track, “Keep It Like That—Tight,” and I was instantly mesmerized. That cut is a highlight, for sure. Rypdal keeps it sparse and suspenseful over its 12 minutes, using wah-wah to accentuate his contemplative guitar epiphanies while the bass and drums form a Cubist strain of funk that’s akin to On The Corner‘s, except much more introverted and subdued. When Jan Garbarek’s saxophone enters the fray, it adds an element of mellifluous hysteria. Near the end, Rypdal jams out a serpentine, Larry Coryell-esque solo that raises the temperature in the room by 20 degrees.
The album then downshifts over the next three tracks, delving into what could be called “chamber-jazz ambient.” “Rainbow” is a beautiful, string-powered sigh that’s tinctured with tantalizing bells while “Lontano II” becomes a slowly revolving vortex of delayed guitar and bass, generating an austere and ominous feeling. The LP’s longest song, the nearly 16-minute “Electric Fantasy,” features the distressingly angelic chants of Inger Lise Rypdal, which cast a spellbinding chill over an space-jazz meditation that anticipates the forlorn atmospheres of Miles Davis’ “He Loved Him Madly” while also foreshadowing Goblin’s Suspiria soundtrack. Rypdal’s crystalline calligraphy and excoriating eruptions à la Lard Free’s Xavier Bauilleret spar with Bobo Stenson’s electric-piano sparkles and Eckehard Fintl’s gorgeous, melancholic oboe lines. A multitude of amazing, intricate gestures pile up in this masterpiece, taking you on a journey to seldom-sojourned realms. “Tough Enough” ends Terje Rypdal with an unexpected deconstruction of early Fleetwood Mac-style blues-rock, before transitioning into a casual homage to Miles’ Tribute To Jack Johnson. Keep ’em guessing, Terje!
For many listeners (including this one), Terje Rypdal represents the peak of the coolly fiery fusion guitarist’s storied career. It also ranks as one of the most enthralling entries in ECM Records’ vast, venerable catalog. -Buckley Mayfield
Jazz-fusion keyboardist/composer Herbie Hancock has had so many phases and so many different flavors of peaks over the last 55 years. (Said Capt. Obvious.) But one stunning LP that tends to get overlooked is Man-Child, which came shortly after his expansive Mwandishi band excursions as well as the astonishing avant-fusion trilogy of Sextant, Head Hunters, and Thrust and before his shockingly futuristic 1983 hit, “Rockit.”
With a triumvirate of drummers (James Gadson, Harvey Mason, and Mike Clark) on Man-Child that would make James Brown and George Clinton envious, Hancock embarked on a journey that was not maiden at all. Rather, it was among the most lethal displays of groove science this multifaceted musician ever laid down—perhaps only trailing Head Hunters and Thrust in his sprawling discography.
“Hang Up Your Hang Ups” starts Man-Child in striking fashion, with Paul Jackson’s absurdly elastic bass line leading into a five-dimensional funk conflagration with exultant horns and a frantic keyboard/guitar tussle. Hancock and company lay down grooves upon grooves, building up a contrapuntal party jam of extreme busyness and complexity. Note that Janet Jackson and N.W.A.—among others—have sampled this.
“Sun Touch” and “Bubbles” are leisurely fusion fantasias that are as substantial as sea spray and just as refreshing, if at times flirting too closely with dinner-jazz innocuousness. The former finds Hancock tickling out rapid curlicues on Arp Odyssey, which really redeems things, while in the latter, Melvin “Wah Wah” Watson bestows a glittering galaxy of guitar ejaculations over a lubricious, luxurious rhythm while Hancock conjures celestial strings with his expensive battery of synthesizers.
On “The Traitor” and “Heartbeat,” Herbie and the boys finesse some slippery, seductive funk with stalwart, strutting bass lines and Hancock getting maniacally intricate on his synths. These tracks bear a mad intensity not unlike that heard on the best Passport records. Probably my favorite piece on the album is “Steppin’ In It,” a sideways self-homage to Head Hunters‘ “Chameleon.” This is bulbous, bass-heavy funk that makes your bell-bottoms grow mutton chops; it’s like Sly & The Family Stone without the vocal acrobatics. What I mean to say is, “Steppin’ In It” deserves to be enshrined in the Funk Hall Of Fame—which is under construction now, right?—with the heaviest of the heavy.
When it comes to manifesting the funk, Hancock’s crew are playing 3D chess while most straight-up funk bands are playing checkers. -Buckley Mayfield
Would you look at this lineup renowned jazz saxophonist Joe Henderson assembled here… Alice Coltrane on piano, harp, harmonium, and tamboura; Charlie Haden on bass; Michael White on violin and flutes; Leon Ndugu Chancler on drums; Kenneth Nash on a wide, international array of percussion instruments. All of these badasses converged to create a Henderson’s most rewarding album of the ’70s—if not his entire career.
Divided into the four elements, as it says on the tin, the album possesses four distinct moods on each track, all of them worth their extended durations. “Fire” coasts in on a buoyant Latin shuffle and bop-wise instrumental interplay, occasionally blooming into full-throated ebullience. This is not the fire music you may have been expecting. Yes, it’s pleasant and full of Henderson’s mellifluous blowing, but it’s not the barn-burner at which the title hints. “Air” wafts into the region of Alice Coltrane’s Ptah The El Daoud, on which Henderson also played. This is elegantly turbulent jazz bolstered by the timbres of African percussion, as Henderson, Coltrane, White, and Haden engage in a gregarious conversation in which each makes fascinating assertions.
Side 2 is where things really get interesting. On “Water,” Coltrane’s tamboura purrs ominously and Henderson’s sax seductively warbles warpedly over a gently bubbling percussion foundation. “Water” is—wait for it—fucking deep. Henderson saves the best for last with “Earth,” which is quite simply one of the funkiest cuts ever, as Ndugu and Haden lock into a groove that you never want to end. If that weren’t enough, Alice’s tamboura arcs into a transcendent halo of chakra-vibrating tones while Henderson concocts what may be the most memorable and melismatic motif of his career. At another point, White gets off a mantric violin solo that sounds plucked rather than bowed, while later in the piece, Nash recites a meditation that contends “time is only now” while Henderson intones ultimate peace vibes on flute.
If you need further confirmation that “Earth” is a kozmigroov jam for the ages, note that Four Tet included it in all its 13-minute glory for his 2004 LateNightTales mix. Truth be told, “Earth” should go on every mix ever. It exemplifies a certain mystical strain in jazz while radiating an overwhelming sensuality. You can almost imagine it fitting onto Miles Davis’ On The Corner, but it’s somehow too sexy even for that libidinous masterpiece. -Buckley Mayfield
You probably know keyboardist Les McCann for his uproarious hit with Eddie Harris, “Compared To What,” but with Invitation To Openness, he occupies a much more chill zone, as exemplified by the 26-minute lead-off track, “The Lovers.” The opening keyboard movement foreshadows a blissful peace, not unlike Miles Davis’ In A Silent Way, with Corky Hale’s harp trills adding more timbral tranquility to proceedings. A few minutes in, drums and percussion slide into earshot and a laid-back groove akin to Julian Priester’s sublime “Love, Love” commences, aided by Bill Salter’s stealthy bass. Five minutes in, Yusef Lateef takes the piece to a higher level with snake-charming oboe melismas. Five minutes later, Cornell Dupree and David Spinozza (who’s worked with Paul McCartney and John Lennon) peel off some wah-wah-tinged blaxploitation riffs that seriously enliven the song, inspiring Bernard Purdie (or it Alphonse Mouzon?) to funk up the rhythm to the max.
“The Lovers” waxes and wanes (but mostly waxes) over its long duration, sounding remarkably composed for an improv jam featuring more than a dozen players. It’s one of the most magical spontaneous-epic recordings in the post-Coltrane world, a cool outpouring of loving spirit by musicians working at the loftiest level of groupmind telepathy. Love, love it.
By contrast, side two can’t help seeming somewhat less momentous. Nevertheless, the two long cuts on it are worth playing in your next hip lounge DJ set. The 13-minute “Beaux J. Poo Boo” is subtle soul-jazz that, while it’s playing, makes you feel about nine times cooler than you actually are. Its gentle propulsion and Lateef’s fluid, mellow flute arabesques lull you into a state of contentment until close to the end, when nearly all hell breaks loose. But these cats are too cool to ever really go nuclear with the freakouts.
On the 12-minute “Poo Pye McGoochie (And His Friends),” we hear another pensive beginning before the band heats up with advanced, velvety groove science. McCann’s crispy, spacey Moog motif rears its head periodically to break up the intricate, cerebral passages. Once you hear that Moog brashly flexing, you’ll want to call it up in your mental jukebox every time you need a jolt of adrenaline. Bonus: a badass drum solo near the end by Mouzon (I think). As with the other two pieces, it sounds like all the players amassed in the studio under producer Joel Dorn were simply enjoying the hell out of themselves and reveling in the loose sense of adventurousness McCann had instructed them to strive for.
Invitation To Openness is one of those rare classics you can still find in used-vinyl bins for $1-$5. Snap it up. -Buckley Mayfield
Imagine hearing this music when it was created, in the late ’50s and early ’60s. Imagine how far-fucking-out it must’ve sounded to people who hadn’t yet experienced the great psychedelic cultural upheaval of 1966, who probably had only the faintest idea of musique concrète and Bebe and Louis Barron’s 1956 soundtrack to Forbidden Planet. Dutch composers Tom Dissevelt and Kid Baltan (aka Dick Raaijmakers) cracked open a Pandora’s Box of bizarre and breath-taking electronic tones and textures that some of today’s producers are still trying to emulate almost six decades later. Song Of The Second Moon captures the duo at a creative peak, generating compositions that embrace menace and whimsy, as well as order and chaos, with a poise that elevates them to the level of other electronic innovators like the aforementioned Barrons and Raymond Scott.
Baltan’s “Song Of The Second Moon” is the kind of synthesizer opus full of off-kilter jauntiness and mercurial insectoid bleeps that made ’90s IDM stars like Mike “µ-Ziq” Paradinas extol it as a paragon of pioneering electronic music. The beautifully desolate atmospheres and shattered metallic timbres of Tom Dissevelt’s “Moon Maid” evoke a sense of awestruck wonder, of planets tilting off their axes. Baltan’s “The Ray Makers” foreshadows Tonto’s Expanding Head Band’s malfunctioning rocket noises on “Jetsex” [see my review of TEHB’s Zero Time from December 18, 2016] and Gil Mellé’s sinister, microbial ambience in The Andromeda Strain soundtrack. Dissevelt and Baltan were magicking science-fiction sonics that were way ahead of their time.
Song Of The Second Moon ends with a couple of deviations from the rest of the LP and reveal the duo’s facility for jazz maneuvers. On “Twilight Ozone,” Dissevelt offers a witty homage to Bernard Herrmann’s Twilight Zone theme, full of frightful horn fanfares and hurtling, white-knuckle rhythms. On “Pianoforte,” Baltan serves up nerve-jangling, disjunctive spy jazz that predates Ennio Morricone’s work in this vein by a half decade or so. Lordy, how did the squares of the early ’60s deal with this madness? Some heads still ain’t ready for this kind of structural and tonal discombobulation.
(Kudos to Fifth Dimension for reissuing this groundbreaking electronic LP. You should also pick up Sonitron’s archival releases of Dissevelt’s Fantasy In Orbit and Dissevelt and Baltan’s El Fascinante Mundo De La Musica Electronica.) -Buckley Mayfield
This may rankle some of his fans, but I’m going to say it anyway: Two of the best albums guitarist Carlos Santana ever played on didn’t come out under the aegis of his most famous band. For certain heads, the LPs the psych-rock deity cut with jazz legends John McLaughlin (1973’s Love Devotion Surrender) and Alice Coltrane (1974’s Illuminations) stand as his creative peaks. That these were released on a major label—good ol’ Columbia—and up until recently have been bargain-bin staples boggles the mind. However, one senses that the general public—and some critics who should know better—still aren’t giving these Eastern-leaning, mystical fusion works their due. I’m here to redress that injustice for the latter overlooked classic; maybe I’ll tackle the former some day.
As the title implies, Illuminations is all about transmitting blazing beams of enlightenment into listeners’ minds. It’s always a great idea to start your album with deep, extended “OOOOOHHHHHMMMMM” chants, especially if you’re a Platinum-selling artist. So listening to “Guru Sri Chinmoy Aphorism,” we gather that this music is going to be about god’s love, which is peachy if you’re into that sort of thing. Honestly, an agnostic like me just cares about the music, but whichever religious route it takes to get to the glory of Illuminations, all should tolerate it.
The one-two feathery punch of “Angel Of Air”/“Angel Of Water” is a profound unfolding of wonderment that preps you for the delights to come. In the former, Turiya and Devadip bestow upon us flute, bass, heavenly strings, pointillistic, crystalline guitar stalagmites, and cymbal splashes. The latter is a glistening pool of almost New Age-y bliss (not a diss, by any means), as these world-class musicians—including Santana electric pianist Tom Coster, and Miles Davis comrades Jack DeJohnette and Dave Holland—summon some of the most delicate, celestial aural tapestries in their blessed careers. You know how Kris Kristofferson had a song called “Sunday Morning Coming Down”? Well, this is Sunday morning going up music. You feel like you need more than one heart to appreciate the loving feeling emanating from this song. Side 1 closes with “Bliss: The Eternal Now,” which sounds like something that could’ve appeared on Coltrane’s Lord Of Lords. This is a heroic fanfare of orchestral ambience that portends glimmers of a brilliant new dawn for humankind… but we all know how that turned out.
The album’s peak comes with the 15-minute “Angel Of Sunlight,” the closest thing to Love Devotion Surrender on Illuminations. Elevated by Prabuddha Phil Browne’s cosmic tamboura drones and Phil Ford’s rapid tabla slaps, “Angel Of Sunlight” charges pell-mell into the fiery orb as Santana Santanas at his most Santana-esque. His six-string calligraphy arcs and darts across the sky with grandiloquent fluidity, wailing like some creature beyond any of our thousands of our so-called gods’ imaginations. Then, as if your ears weren’t surfeited enough with pleasure, Coltrane’s Wurlitzer solo flares in delirious, rococo siren tones within the golden-hued tumult. This track is a sonic analogue for the cover, a supernatural lavishment of benedictions from players tilting toward transcendence. What follows can only seem anti-climactic, but “Illuminations” is a denouement of ethereal solemnity and grace. It’s the dignified breather you need after “Angel Of Sunlight”’s ravenous enrapturing.
There’s probably a copy of Illuminations sitting in a used bin near you for under $12. Go forth and grip. -Buckley Mayfield
Good lord, did Hungarian guitarist Gábor Szabó have a distinctive and utterly sweet tone, albeit one imbued with deep sadness when the occasion called for it. After issuing some great records for Impulse!, Skye, and Blue Thumb in the ’60s and ’70s, he moved to Creed Taylor’s CTI label and smoothed out a bit, as per that company’s overriding aesthetic. But with Mizrab, Szabó cut the definitive version of the title track. You need this LP for that dazzling cut alone, but there are other delights here, too, even though this isn’t the man’s best full-length. (Still trying to decide if it’s Spellbinder, Bacchanal, or Sorcerer.)
Recorded in the Van Gelder Studio with CTI all-stars like Bob James (electric organ), Ron Carter (bass), Hubert Laws (flute), plus fusion drummers Billy Cobham and Jack DeJohnette (playing in a much mellower style than they did with Mahavishnu Orchestra and Miles Davis, to say the least), Mizrab boasts an odd mélange of material. It starts with “Mizrab,” which is quite simply one of the most beautiful songs ever written. Szabó and company find the sweet spot among free-flowing raga rock, Central European folk, and pop jazz. Cobham’s drumming is agile and busy, touching on Latin shuffle and funk, while Szabó’s tone is crystalline and loaded with pathos. This tune never fails to trigger watery eyes and throat lumps.
“Thirteen,” another Szabó composition, is a lovely minor-key lament, as pensive and melancholy as a walk home after being fired from your job. You can hear some of Szabó’s mellifluous picking and piquant tone here in the oeuvre of former Sun City Girls guitarist Sir Richard Bishop; a high compliment. Unfortunately, that’s it for Szabó material on Mizrab. Next comes Carole King’s “It’s Going To Take Some Time,” a lightweight and syrupy orchestral jazz pop confection. You can feel the heavy hand of Taylor’s commercial directives at work here, although Cobham is always worth hearing, no matter what the context. That fluff is balanced out by a hip, Deodato-esque rendition of Dmitri Shostakovich’s “Concerto #2.” It’s a dynamic study in structure and mood, carried aloft by those rich CTI strings and Bob James’ deft arrangement.
The album closes with Seals & Croft “Summer Breeze.” This played-to-death, oft-covered 1972 hit single gets a fairly straightforward treatment, although DeJohnette adds all sorts of tasty accents and fills amid his martial-funk master rhythm and Szabó scrawls delicate calligraphy around the main melody. Again, one wishes Szabó had the clout to include more of his own work on Mizrab. Nevertheless, this is still a cool interpretation of that airiest of psych-pop baubles from the dusk of the hippie era—although I’ll take the Isley Brothers’ version, push comes to shove. As with all CTI LPs, Mizrab is worth buying as much for the cover image and glossy texture as for the music. -Buckley Mayfield
Nearly all my friends and acquaintances who are into psychedelic music tap Brown Rice* as their favorite Don Cherry album, and one listen reveals why. It’s at once the grooviest, spaciest, and most cosmic-sounding record in the legendary jazz trumpeter’s catalog. Cherry’s hunger for new, adventurous sounds spurred him to travel around Africa, Europe, and the Far East and absorb influences from those regions. For Brown Rice, he called on some trusted comrades to help him realize his ambitious visions, including drummer Billy Higgins and bassist Charlie Haden (both of whom played with Ornette Coleman and Cherry on seminal LPs The Shape Of Jazz To Come and Change Of The Century), and saxophonist Frank Lowe. They and other key contributors combine to create perhaps the most rewarding introduction into Cherry’s large canon.
Leading off, of course, is the title track, the leftfield rare-groove monster jam that launched a million chills on a million cool underground-hip-hop producers and other sussed cats. Verna Gillis’ distinctively eerie “ooh ooh ooh ooh ooh ooh”s continuously undulate under Bunchie Fox’s electric bongos (Bunchie Fox’s electric bongos!), two electric pianos made to sound like a weirdly tuned marimba, Haden’s wah-wah bass eructations, and Cherry’s confidential whispers. Here and there, Lowe unleashes some ravishing rasps on his sax. There’s nothing else really like “Brown Rice”’s alien funk, and it’s worth the price of admission alone. The 14-minute “Malkauns” finds Cherry and company delving into Holy Mountain soundtrack territory. Moki’s tamboura drones in timeless, chakra-aligning tones and Haden’s contemplative acoustic bass sojourns dominate the first 4.5 minutes, then Cherry’s triumphant trumpet fanfares and Higgins’ cymbal-intensive rhythms kick up the energy to a spritely gallop. The track then becomes a virtuoso duel between Cherry and Higgins, as the tamboura/bass players maintain a staunch foundation. The last couple of minutes return to the tamboura/bass interplay, to which you can imagine Alejandro Jodorowsky zoning out.
Another epic piece, “Chenrezig” features Cherry’s guttural, spiritual chants (in a language I can’t discern) foghorn over Hakim Jamil’s tense, rumbling bass and Ricky Cherry’s sparse piano. When Don’s trumpet enters a few minutes in, things tranquilly lift to a more exalted plane. All the while, a surreptitiously coiled rhythm shuffles below. Until it accelerates near the end, “Chenrezig” comes off as a less turbulent, more introspective take on Bitches Brew‘s outward bound fusion. “Degi-Degi” closes the LP with Cherry urgently whispering about the goddess of music over a bustling rhythm—Haden’s bass is especially buoyant—and Don’s spiraling trumpet motifs that make you feel as if you’re conquering a new planet.
In The Penguin Guide To Jazz, Brian Morton and Richard Cook called Brown Rice “a lost classic of the era and probably the best place to sample the trumpeter as both soloist—he blows some stunningly beautiful solos here—and as the shamanic creator of a unique, unearthly sound that makes dull nonsense of most ‘fusion’ work of the period.” Listen to these learned Brits; they know what they’re talking about. -Buckley Mayfield
*Brown Rice was originally titled Don Cherry in the US and its first pressing here came via Horizon/A&M in 1977.
Conventional wisdom says that you should be leery of most jazz LPs from the late ’70s onward, but Inner Conflicts by ex-Mahavishnu Orchestra drummer Billy Cobham is an exception to that rule. Not that Inner Conflicts is a traditional jazz record. Nope. It’s actually a left-of-center fusion work with loads of Latin percussion and inflections—plus a mammoth electronic experiment that’s a phenomenal anomaly in Cobham’s catalog. Let’s get right to it, shall we?
Inner Conflicts‘ title track is by far the most impressive Heldon homage ever conceived by a jazz artist. (Google “Heldon/Richard Pinhas” and prepare to have your life changed for the better, if you’re not already familiar.) This beastly alien cut sounds like it could fit right in on Heldon’s infernal classic Interface, which came out in 1977. It finds Cobham drumming up a turbulent solar storm while also generating—with Moog Modular 55 programming help from John Bowen—a bizarre mélange of bleepy, gurgly synth emissions fit to score that mythical sequel to The Andromeda Strain. At almost 11 minutes, “Inner Conflicts” is a war of attrition on your nervous system, but totally worth the extreme exertion.
Inner Conflicts‘ remaining four songs are much more conventional, but interesting in their own right. “The Muffin Talks Back” is a flamboyant, eventful Latin jazz-funk fusion that hints at the gluttonous percussion fiesta—featuring Prince protégé Sheila Escovedo and her father Pete—to come on side two. “Nickels And Dimes” could be a rollicking, TV-cop-show theme in waiting, all blustery brass and woodwinds and frantic xylophone and marimba by Frank Zappa cohort Ruth Underwood. “El Barrio” starts as a lurching, heavily percussive, festive jam powered by whistles, congas, timbales, and other percussion instruments, before smoothing out into a undulating throb of Latin jazz marked by Cobham’s busy, potent kit work. The coolly burbling “Arroyo” showcases John Scofield’s well-modulated, Santana-esque shrieking guitar calligraphy.
Throughout the album, Cobham of course acquits himself as a powerful, kinetic, and inventive leader, asserting the world-class rhythmic skills that have made him desirable to so many musicians, including Miles Davis, John McLaughlin, Peter Gabriel, and Deodato. But it’s that cataclysmic wonder, “Inner Conflicts,” that remains most vivid in your shattered mind afterward. -Buckley Mayfield
This fantastic album’s going to surprise all but the most clued-in Gary Wilson fans. For those only familiar with the Endicott, New York cult musician’s mildly obsessive new-wave lounge funk, they’ll be taken aback—in a good way!—with the avant-garde jazz moves Gary and company bust on this long-unheard 1974 date. Seeing as Wilson is literally a John Cage disciple (at age 14, he visited the great man at his home to discuss music), Gary’s quest for far-out concepts and sounds should come as no surprise, and that spirit pervades Another Galaxy.
Absent Wilson’s regular-guy romantic vocals and featuring Wilson on standup bass and piano and Garry Iacovelli on drums and percussion, Another Galaxy strives to reach said far-flung galaxy with a sound that’s in the vicinity of Herbie Hancock’s Mwandishi band, Alice Coltrane’s piano/organ-centric Warner Bros. phase, and Sun Ra’s intergalactic strangeness. The opening title track leads you into febrile, funky jazz territory, bolstered by Wilson’s tensile flights of fancy on the bass and Natale (Chris) Putrino’s flaring wah-wah guitar, which will please Larry Coryell fans. The askew, oblong “Study For Three” triggers those John Cage and Sun Ra comparison reflexes… and, hell, even Wolfgang Dauner’s Et Cetera; it’s a baffling amalgam of frenetic drum splutters, extended bass groans, and atonal piano runs—guaranteed to make any gathering extremely uncomfortable. And that’s one reason why I love it.
“Softly The Water Flows” tones down the hyperkinetic sonic puzzles and eases into a lovely 90-second piano-led meditation. The 14-minute “Hate And Depression” blasts off with Iacovelli’s frantic, subtly powerful drum solo and then Wilson solos methodically and stoically on bass. Four minutes in, tenor saxophonist Tyrone Parks III and Iacovelli join in and the group explodes into a swerving free-jazz cauldron. Artful chaos ensues… and keeps shooting off sparks into all directions in a serious endurance test of nerves. But you’re tough—you can handle it.
This reissue is limited to 500 copies. It would be a strategic error to hesitate grabbing one before they’re gone again. -Buckley Mayfield
Here’s a stone-classic album that’s still not widely known enough—even with its uplifting funk track “Bra” being sampled by De La Soul on “Change In Speak” from 3 Feet High & Rising and appearing in Spike Lee’s 1994 film Crooklyn. (Hip-hop and electronic-music producers have sampled Cymande at least 77 times, according to who-sampled.com.) Cymande put out three strong albums (I’ve not heard their fourth, Arrival), but their debut is the best, if only judging by how often I play tracks from it in DJ sets. It’s one of those rare funk full-lengths that you can play from start to finish without lifting the needle off a tepid ballad.
But to call Cymande merely a funk band is inadequate. The English nonet—who featured musicians from London, St. Vincent, Guyana, and Jamaica—also incorporated jazz, reggae, calypso, and progressive rock in their inspirational tracks, and such hybridization resulted in highly flavorful material that is bathed in a spiritual glow that can’t be faked. Cymande call it “nyah-rock,” which they describe in the liners as “the music of the man who finds in life a reason for living.” I’ll say.
Side 1 is largely mellow and meditative and marked by Patrick Patterson’s fluid guitar ruminations, Steve Scipio’s lithe bass lines, Mike Rose’s circuitous flute motifs, and Ray King’s soulful vocals that carry subtle hints of Caribbean patois. LP opener “Zion I” is the exception: a spiritual reggae tune with righteous massed vocals and a bass line on which you can trampoline.
Side 2 is where Cymande really shines. “Dove” (sampled by the Wu-Tang Clan in “Problems” and the Fugees in “The Score,” among many other places) is simply one of the greatest pieces of music ever waxed. It begins in great intrigue, Patrick Patterson’s guitar modulating a Santana-esque wail, setting the scene for Steve Scipio’s world-beating, sidewinder bass line to lift the track onto a higher, more libidinous level. Stealthy, undulant funk beats and blissed-out “la la la la-la”s contribute to making the 11-minute “Dove” one of the ultimate sex jams. The aforementioned “Bra” is simply one of the most joyous pieces of music ever waxed. The next time you’re really down, play it and feel your worries dissolve amid its levitational rhythms, percolating congas and bongos, and triumphant horn charts. “The Message” is more subdued, but no less seductive with its nocturnal funk strut. “Ras Tafarian Folk Song” is definitely the album’s weak link, but that could just be my bias against religious belief systems talking. Thankfully, it’s over in three minutes. Everything else on Cymande, though, deserves to be blazed into your memory banks till your last breath—especially “Dove.” -Buckley Mayfield
Blurt don’t get enough respect. Led by poet/saxophonist/blurter Ted Milton, they were one of the oddest and most galvanizing bands from Great Britain’s post-punk movement. Surfacing a year after 1981’s live full-length In Berlin, their self-titled debut studio LP consists of seven tracks that strip funk and jazz-inflected no wave down to insanely logical essentials. These lean vehicles operated by Milton, his brother Jake (drums), and Pete Creese (guitar) get your hips twitching and your brain itching. The songs are both tight and spacey—a rare combo of elements that coheres into trance-funk jams punctuated by Milton’s rude, shredded sax jags and spluttering, megaphoned rants. If you saw Ted Milton doing his thing on the street corner, you’d give him a wide berth. See him onstage or hear him on record and you’re transfixed and repulsed in equal measure.
“Dog Save My Sole” instantly sets the template for Blurt: solid-as-hell, tom-tom-heavy funk beats that hit you in your root chakra; geometrically precise, lightly discordant guitar figures that cycle like ∞; and Milton’s raucous sax squawks and mad shouts. The weirdly galloping “Trees” might appeal to fans of Ornette Coleman’s Of Human Feelings, which also came out in 1982. Milton’s sax is at its most mellifluous and Creese’s guitar takes on a percussive, Afrobeat tenor. “Physical Fitness” crunches your abs with rolling and tumbling tom-tom and kick-drum beats while Ted lays down some knuckle-biting, spy-jazz motifs and Creese scratches out a guitar riff that sounds like a strangled tiger snarl.
“Empty Vessels” is streamlined funk with an undulating groove that you never want to end—trust me on this. Creese executes a minimalist, “King Sunny Adé on a short leash” guitar mantra, while Ted spits leery squiggles of sax over everything. The rudimentarily funky “Play The Game” sounds like it’s repeatedly falling down the stairs into a Manhattan jazz club circa 1961, as TM shreds his larynx with some babble. Without warning, the song speeds up… because Dada. “The Ruminant Plinth” is the closest Blurt comes to a single (which it was): It’s the sort of jittery yet maniacally disciplined jazz funk that could make Fela Kuti’s Africa ’70 sweat their asses off. With contrarian bullheadedness, Blurt closes with “Arthur,” the LP’s slowest cut; Ted and the guys sound relatively narcotized, but the melismatic jazz funk will surely put you in a strange reverie.
There’s nothing on Blurt that’s as rabble-rousing and catchy as their early-’80s singles “The Fish Needs A Bike” and “Get,” but this remains Blurt’s most consistent full-length effort and an essential, bizarrely shaped piece of the original post-punk puzzle. -Buckley Mayfield