Kruekutt’s 2021 Favorites!

I thought I didn’t have a big list of favorites from this year’s listening — until I revisited my six-month survey from back in June and added in the good stuff I’ve heard since then! The listing below incorporates links to full or capsule reviews, or other relevant pieces on Progarchy and elsewhere; albums I haven’t written about yet get brief comments, along with my Top Favorites of the year. Most of these are available to check out online in some form; if you find yourself especially enjoying something, use that Christmas cash and support your choice with a purchase! And the winners are . . .

Continue reading “Kruekutt’s 2021 Favorites!”

Rob Koral’s “Wild Hearts” – Jazz Rock At Its Purest

Rob Koral - Wild HeartsRob Koral – Wild Hearts – 2021
Tracks: Show Me The Way (5:46), Funky “D” (7:14), Summer (8:12), Take Me Back (4:40), Saving Grace (7:18), The Showdown (5:17), The Beyond (5:00), Hold Tight (5:37)

Part jazz, part classic rock, part blues, and all with a sprinkling of prog over the top for good measure. That’s probably the best way to describe Rob Koral’s new album, Wild Hearts. Rob has played on over 30 records, and he is most well known for his work with the band Sketch. He is also a founding member of the band Zoe Schwarz Blue Commotion.

The songs on Wild Hearts are very upbeat, reminding me a little of the first Jethro Tull record and of Blodwyn Pig. The music is relatively simple – guitars by Rob Koral, Hammond organ by Pete Whittaker, and drums by Jeremy Stacey. The album sounds extremely fresh, which is likely due to the group recording the songs live in studio on one day in December 2020. I think that approach is best for this kind of jazz-blues instrumental music. It begs for improvisation. Rob wrote all the music, but he says that he didn’t tell Pete and Jeremy what to play. The result is music with form that still breathes. You can even hear the little hand movements on the guitar strings and the little natural noises you would get playing live. There’s even a sense of space from the room the recorded the music in. These elements add warmth to the recording, as well as bring a vintage feel to the music.

The Hammond organ really makes this record stand out for me. It adds such a rich atmosphere to the songs, even when the guitar is taking center stage. The drums have a jazzy improv feel that sets the perfect stage for the guitars and organ. My only really critique is perhaps a little bit of repetition throughout, but that also may be a result of the album being recorded live in a day. As such it’s quite an achievement. In a way it feels like a live jazz show. A song like “The Beyond” especially has that feel of anticipation as the soloing switches back and forth between guitar and organ. The longer guitar solo builds gradually over a very simple but effective drum beat. It’s smooth with a little bit of grit on the lower ends.

Wild Hearts’ strength as an album is it takes jazz and rock and strips them down to the basics. There’s nothing overly complicated here, but the extended jamming gives the songs room to grow and breath. It’s a solid album that has a positive and upbeat tone to it, sure to please on repeated listens.

http://www.robkoral.co.uk
Order the CD here: https://www.zoeschwarzmusic.com/music/wild-hearts-rob-koral.html

Sunday Jazz – Benjamin Croft’s “Far and Distant Things”

Benjamin Croft Far and Distant ThingsBenjamin Croft, Far and Distant Things, Ubuntu Music, 2021
Tracks: Overture (1:13), Far and Distant Things (6:13), Brock (4:47), S.A.D. (Spatial Awareness Disease) (6:21). Tudor Job Agency (6:25), S&R Video (5:07), The War Against Loudness (6:17), How Not To Win The Nobel Peace Prize (6:17), Than You, That’s What I Wanted To Know… (5:35), St Gandalf’s (1:55), The Cashectomy (6:25)

I don’t listen to as much jazz as I should, probably because it is such a diverse genre that I barely know where to begin. I’ve always enjoyed jazz music in live settings. I think the genre excels when played live because it is a highly experimental genre, allowing room for improvisation. When I was in college I loved attending the concerts put on by the faculty jazz band. They were always so much fun. I think I enjoy jazz for some of the same reasons I enjoy progressive rock, which obviously is heavily influenced by jazz. At its most basic, the technical musicality in jazz keeps me interested. 

UK musician Benjamin Croft’s Far and Distant Things has been such an enjoyable CD to listen to over the past month and a half. Croft wrote and arranged all the tracks on the album, and he also played all of the keyboards. In addition to Steinway and Yamaha grand pianos, Croft plays a whole list of various synthesizers and keyboards, thus bringing in a bit of a prog texture to his jazz record. Perhaps those elements are why he sent us his CD for review, but regardless of why, this is an excellent album. At any rate, the artwork is certainly prog, featuring cover art (and other artwork on the CD and in the packaging) by Hugh Syme. 

Beyond Croft on keyboards, the songs have a revolving cast of characters, with Tristan Mailliot or Laurie Lowe playing drums on most of the tracks, except for “St. Gandalf’s,” which features Chad Wackerman. Flo Moore and Henry Thomas share bass guitar duties on the record. Guitars and on the album are played by a few guests, as are the wind instruments. Garthe Lockrane’s flutes on “Overture” and “Brock” are really quite something. It brings in that element of classic progressive rock as well as a fresh classical texture.

As is typical in jazz, there’s a lot of soloing on each track – keyboards, guitar, bass, trumpets, flute. Not each one of those on every track, but you get my meaning. The playing is smooth and easy to absorb. Some jazz can be overpowering, but Far and Distant Things sets you right at ease. The drumming and bass create a smooth yet complex rhythm throughout the entire album. The interplay between piano, keyboards, and the various wind instruments is quite pleasant. 

“How Not To Win The Nobel Peace Prize” is an interesting piece in the way it shifts over the course of the track. It starts off as a more typical jazz song before speeding up and morphing at the end of the song into more experimental territory before fading out. It’s a shame it fades out, because I wanted to hear where they were going. The title of the track, along with others on the album, hints at a bit of sarcasm, which I can always appreciate. 

Benjamin Croft – Far and Distant Things Music Video – YouTube

There are some rock moments on the record. “Far and Distant Things,” featuring Frank Gambale on electric guitar, is perhaps more rock than it is jazz, especially when you take the synths into account. “Tudor Job Agency” has its jazz moments, but the guitar, played by Barry Finnerty, has a Clapton-esque vibe to it. There is also a passage of some incredibly fast drum beats that add a rock element to the song.

Give Benjamin Croft’s Far and Distant Things a listen for a laid back Sunday afternoon or evening. Or for any day of the week. The music is exceptionally well-written and equally well-performed. It brings me back to simpler times when I could enjoy a live jazz show without worrying about… well all the things we seem to worry about these days. This instrumental album will take you a world away, if only for an hour. 

https://www.benjamincroftmusic.com
Spotify

The Fall 2021 Box Set Bonanza

As previously promised, a look at the big reissues landing in the next few months — especially those available in one or more box set formats. Ordering links are embedded in the artist/title listings below.

Out Now:

The Beach Boys, Feel Flows – The Sunflower and Surf’s Up Sessions, 1969-1971: between their initial impact and their imperial phase as timeless purveyors of fun fun fun, Brian Wilson and his family pursued heaviness and relevance in a market that thought it had outgrown them — at least for the moment. This slice of the Boys’ catalog features less slick, more homespun takes on their timeless concerns (the same amount of girls, less cars, more daily life), with Wilson brothers Dennis (on Sunflower) and Carl (on Surf’s Up) taking the lead. The brilliant moments — “This Whole World,” “Forever,” “Long Promised Road,” “Til I Die” for starters — outweigh the embarrassingly dated ones, and music to make you smile is never too long in coming. Available from The Beach Boys’ webstore as 2 CDs, 5 CDs, 2 LPs or 4 LPs (colored vinyl).

BeBop Deluxe, Live in the Air Age: when Bill Nelson’s avant-glam guitar heroics didn’t generate bigger record sales, a live album was the next obvious move for this sterling British quartet. Better chart positions weren’t forthcoming, but 1977’s Live in the Air Age is an exquisite slab of BBD at work — Chuck Berry updated for the Apollo era, with a bit of Bowie/Mercury panache in Nelson’s vocals and blazing solos aplenty. Available from Esoteric Recordings as 3 CDs (adding the complete 1977 London concert) or 15 CDs/1 DVD (adding all surviving recordings from the 1977 British tour and a live television special).

George Harrison, All Things Must Pass: the quiet Beatle exploded on his first album after the Fabs’ breakup, immersing his radiant devotional compositions in Phil Spector’s patented Wall of Sound and drafting Ringo, Badfinger and the embryonic Derek and the Dominoes as his rock orchestra. The new remix scales back the symphonic swirl, brings forward George’s vocals, and gives the rhythm section a kick in the pants; just right to these ears. A serious contender for the single best solo Beatle album, well worth an immersion course. Available from the Harrison webstore in Standard (2 CDs or 3 LPs — limited colored vinyl available as well), Deluxe (3 CDs or 5 LPs), Super Deluxe (5 CDs/BluRay or 8 LPs) and Uber Deluxe (5 CDs/BluRay/8 LPs/various bespoke gimcracks/”artisan wooden crate” — you don’t wanna know what it costs) editions.

The Elements of King Crimson – 2021 Tour Box: the 7th annual compilation of tidbits from the Discipline Global Mobile archives, doubling as a concert program. This year’s selection of rarities focuses on the nine drummers that have called King Crimson their musical home (sometimes two or three of them at once). Studio snippets – like the one with Fripp, John Wetton on bass and Phil Collins on drums – live tracks, oddities, previews of coming attractions, and more. Available from Burning Shed or on Crimson’s current USA tour.

Lee Morgan, The Complete Live at the Lighthouse: never a mass media superstar, Morgan was nonetheless a jazz icon — one of the finest trumpeters of his day who played with heroes of the music like Art Blakey and John Coltrane, recorded more than 20 albums as a leader for Blue Note Records, and even managed to score a Top 25 pop hit with his funky “The Sidewinder.” This box (another product of jazz archivist Zev Feldman’s boundless energy) sets forth an entire weekend’s worth of recordings by Morgan and his dedicated, powerful 1970 band. Bennie Maupin on reeds, Harold Mabern on piano, Jymie Merritt on bass and Mickey Roker on drums bring the sophisticated, challenging compositions and spirited solos and backing; Morgan takes it from there, lyrical and fiery in turn. This is a great potential entry point if you want to explore jazz as a newbie, and a serious desert island possiblility for those already into the music. Available from Blue Note’s webstore as 8 CDs or 12 LPs.

Clive Nolan and Rick Wakeman, Tales by Gaslight: keyboardists Nolan (Pendragon, Arena) and Wakeman (Yes, Strawbs) box up their out-of-print concept albums Jabberwocky (with dad Rick W. reciting Lewis Carroll’s nonsense verse) and The Hound of the Baskervilles, adding a bonus disc collecting rough drafts of a 3rd album based on Frankenstein. Separate booklets and art prints for each of the 3 CDs included. Theatrical as all get out, and surprisingly good fun if you’re in the mood for Victorian-flavored melodrama. Available from Burning Shed.

September:

Bob Dylan, Springtime in New York – The Bootleg Series, Volume 16, 1980-1985: Outtakes, alternate versions, rehearsals, live performances and more from the era that yielded Dylan’s albums Shot of Love, Infidels and Empire Burlesque. Out September 17; pre-order from Dylan’s webstore and elsewhere in the following formats: 2 LP Highlights, 2 CD Highlights or 5 CDs complete. (There’s also a subscriber-only 4 LP set from Jack White’s Third Man Records.)

Marillion, Fugazi: the band’s 1984 album, perceived as a “sophomore slump” at the time, is much more than a bridge between the feral debut Script for A Jester’s Tear and the early masterwork Misplaced Childhood, with plenty of gripping moments to recommend it. A new remix by Andy Bradfield and Avril Mackintosh compensates handily for the production nightmares recounted in this deluxe edition’s copious notes. Also includes a complete live set from Montreal; the CD/BluRay version adds bonus tracks, documentaries, and a Swiss television concert. Out September 10; pre-order from Marillion’s webstore as 4 CDs/BluRay or 4 LPs.

Van der Graaf Generator, The Charisma Years, 1970-1978: VDGG may have shared the stage with Genesis in each band’s formative years, but they were a thoroughly different beast. Peter Hammill’s desperate existential narratives and the wigged out instrumental web woven by David Jackson, Hugh Banton and Guy Evans made for a unique, highly combustible chemistry — bonkers dystopian sci-fi narrative over free jazz one moment, raggedly soaring hymns to human potential the next. This 17 CD/3 BluRay set collects the band’s 8 studio albums from the Seventies, adding extensive BBC sessions, a live show from Paris, all surviving television appearances “and more.” Now available from Burning Shed; the four newly remastered albums in this box (H to He Who Am the Only One, Pawn Hearts, Godbluff and Still Life) are available as separate CD/DVD sets for those wanting a lower priced introduction to this underrated band’s indescribably stirring music.

October:

The Beatles, Let It Be: the Fab Four’s star-crossed attempt to return to their roots – recording live in front of movie cameras – ultimately became their first post-break-up release, drenched with Phil Spector’s orchestral overdubs to cover the rough spots. With a new 6-hour Peter Jackson documentary on the sessions hitting Disney Plus Thanksgiving weekend, Apple unleashes a fresh stereo remix (the 4th in the series that kicked off with Sgt. Pepper’s 50th anniversary). Super Deluxe versions also include 27 sessions tracks, a 4-track EP and a test mix of Get Back, the proposed original version of the album. Out October 15th; pre-order from the Fabs’ webstore in Standard (1 CD or 1 LP), Deluxe (2 CDs with selected bonus tracks) and Super Deluxe (4 CDs/1 BluRay or 4 LP/1 EP) editions. (The companion book of photos and transcribed conversations from the sessions, Get Back, is released on October 12.)

Emerson Lake and Palmer, Out of This World – Live (1970-1997): a compilation of key live shows in ELP’s history: their 1970 debut at the Isle of Wight Festival; a career peak show at the 1974 California Jam; the 1977 full-orchestra extravaganza at Montreal’s Olympic Stadium; 1992’s comeback concert at London’s Royal Albert Hall; and a previously unreleased 1997 show from Phoenix, Arizona. Out October 29; pre-order from ImportCDs as 7 CDs or 10 LPs.

Joni Mitchell, Archives , Volume 2 – The Reprise Years (1968-1971): more archival recordings from the early days of Mitchell’s recording career. Home and studio demos, outtakes, unreleased songs, her Carnegie Hall debut and much more — a complete acoustic set recorded by a enraptured Jimi Hendrix, anyone? Out October 29; pre-order from Mitchell’s webstore on 5 CDs or 10 LPs (4000 copies only), The Carnegie Hall concert is available separately on 3 LPs (black or white vinyl).

Pink Floyd, A Momentary Lapse of Reason (Remixed and Updated): the 2019 remix of Floyd’s post-Roger Waters comeback from the opulent The Later Years box, now available on its own. “Sounds less like the 1980s, more like classic Floyd” is the party line here. Out October 29; pre-order from Floyd’s webstore in 1 CD, CD/DVD, CD/BluRay or 2 LP formats.

November:

Genesis, The Last Domino? Yet another compilation of Genesis’ greatest hits, fan favorites and core album cuts, released just in time for their first US tour in 14 years. No real surprises in the track selection, but the blurbed promise of “new stereo mixes” of four Gabriel-era classics is intriguing. Out November 19; pre-order from Genesis’ webstore on 2 CDs or 4 LPs. (The UK version of this compilation, out September 17, sports a slightly different track list.)

Elvis Presley, Back in Nashville: the King’s final sessions in Music City, stripped of overdubs a la last year’s From Elvis in Nashville box, that yielded material for three years worth of albums. 82 tracks encompassing country/folk, pop, religious music and Christmas music. Out November 12; pre-order from the Presley webstore on 4 CDs or 2 LPs.

In the Works (release date forthcoming):

Robert Fripp, Exposures: another exhaustive (and potentially exhausting) set from Discipline Global Mobile. This one promises to cover Fripp’s “Drive to 1981,” including his guest-star-heavy solo debut Exposure, the ambient Frippertronics of God Save the Queen and Let the Power Fall, and the egghead dance music of Under Heavy Manners and The League of Gentlemen. Tons of live gigs promised to supplement rarities and studio outtakes.

Marillion, Holidays in Eden: the new Marillion album (now officially titled An Hour Before It’s Dark) may push this further back on the release schedule, but Steve Hogarth’s second effort with the boys (an intriguing effort that tried and failed to go commercial) is next up for the deluxe reissue treatment.

Porcupine Tree, Deadwing: a promised deluxe set in the vein of 2020’s In Absentia. Internet gossip flared up when Steven Wilson, Steve Barbieri and Gavin Harrison were rumored to have reset the band’s legal partnership earlier this year; who knows how or when the Tree may blossom again?

Renaissance, Scheherezade and Other Stories: coming from Esoteric Recordings, the folk-prog quintet’s finest hour in the studio, melding orchestral grace with an Arabian Nights theme for the half-hour title track. If this is in the vein of other recent Renaissance issues, hope for a multi-disc set with a bonus live set and a surround remix.

— Rick Krueger

The Big Prog (Plus) Preview for Fall 2021!

What new music and archival finds are heading our way in the next couple of months? Check out the representative sampling of promised progressive goodies — along with a few other personal priorities — below. (Box sets based on reissues will follow in a separate article!) Pre-order links are embedded in the artist/title listings below.

Out now:

Amanda Lehmann, Innocence and Illusion: “a fusion of prog, rock, ballads, and elements of jazz-blues” from the British guitarist/vocalist best known as Steve Hackett’s recurring sidekick. Available direct from Lehmann’s webstore as CD or digital download.

Terence Blanchard featuring the E-Collective and the Turtle Island Quartet, Absence: trumpeter/film composer Blanchard dives into music both written and inspired by jazz legend Wayne Shorter. His E-Collective supplies cutting edge fusion grooves, and the Turtle Island String Quartet adds orchestral depth to the heady sonic concoctions. Available from Blue Note Records as CD or digital download.

The Neal Morse Band, Innocence and Danger: another double album from Neal, Mike Portnoy, Randy George, Bill Hubauer and Eric Gillette. No overarching concept this time — just everything and the kitchen sink, ranging from a cover of Simon and Garfunkel’s “Bridge Over Troubled Water” to brand-new half-hour epics. Available from Inside Out as 2CD, 2CD/DVD or 3 LPs/2 CDs

Trifecta, Fragments: what happens when Steven Wilson’s rhythm section turns his pre-show sound checks into “jazz club”? Short, sharp tracks that mix the undeniable chops and musicality of Adam Holzman on keys, Nick Beggs on Stick and Craig Blundell on drums with droll unpredictability and loopy titles like “Clean Up on Aisle Five” and “Pavlov’s Dog Killed Schrodinger’s Cat”. Available from Burning Shed as CD or LP (black or neon orange).

Upcoming releases after the jump!

Continue reading “The Big Prog (Plus) Preview for Fall 2021!”

2021: My Favorite Albums, Six Months In

As life in these United States opens up, my life finally seems to be settling down — at least for the summer. Which means it’s time to make up for the backlog of excellent albums (new and old) that I’ve heard since January, but haven’t written about here! Links to listen (to complete albums or samples) are included whenever possible.

New Albums: The Art of Losing (The Anchoress’ rich meditation on endurance) and the multi-version adrenalin rush of Transatlantic’s The Absolute Universe notwithstanding, most of the new albums I’ve loved so far have migrated towards jazz and classical — frequently with pianists at their center. Vijay Iyer’s Uneasy, made with bassist Linda May Han Oh and drummer Tyshawn Sorey, is a state of the art piano trio effort; blues and abstraction suspended in perfect balance and caught in an intimate, tactile recording. Canadian Bach and Mozart specialist Angela Hewitt shows off her range with Love Songs, a gorgeous confection of orchestral and art song transcriptions assembled in lockdown and performed with undeniable panache. The same goes for Danny Driver’s phenomenal rendition of Gyorgy Ligeti’s hypermodern 18 Etudes — virtuoso pieces whose serene surfaces turn out to be rooted in super-knotty counterpoint and off-kilter rhythmic cells. My favorite new album of 2021 to date? Promises by electronica artist Floating Points, spiritual jazz saxophonist Pharoah Sanders, and The London Symphony Orchestra, which manages to bring all of the above (well, except for the piano!) together in one glorious, 40-minute ambient epic.

Reissues: Big Big Train’s double-disc update of The Underfall Yard has definitely had its share of listening time, between Rob Aubrey’s rich remix/remaster and the welcome bonus disc (featuring fresh recordings of the title track and “Victorian Brickwork” by the full band and brass quintet). With My Bloody Valentine’s catalog back in print, their masterpiece Loveless sounds as incredible as ever; crushing distortion and lush romanticism collide to channel the sublime. And Pete Townshend has masterminded a comprehensive Super Deluxe edition of The Who Sell Out, the band’s pre-Tommy high point. But my favorite reissues thus far have been It Bites’ The Tall Ships (especially the title track — what a power ballad!) and Map of the Past (a favorite of mine since its original release). With the then-unknown John Mitchell taking over from Francis Dunnery, IB sailed into the 21st century with their 1980s pomp intact, killer hooks, head-spinning riffs and all.

Live Albums: Beyond the visceral thrills of Fanfare for the Uncommon Man: The Official Keith Emerson Tribute Concert, I’ve had a blast hearing krautrock legends Can conjure up spellbinding group improvisation on Live in Stuttgart 75, an initial dip into their voluminous concert archives. I’ve been giddy to hear Kansas, bolstered by keyboardist Tom Brislin, get their mojo working on Point of Know Return Live & Beyond. (They’ll be my first post-lockdown rock show next month.) And my journey back into soul music (see below) set me up nicely for the razor-sharp, precision funk of Tower of Power: 50 Years of Funk and Soul Live at the Fox Theater, a deliriously exciting reunion show recorded in 2018.

From the Catalog: All the good new stuff above aside, this is where some of my most fruitful listening has been happening this year — frequently inspired by other media. Watching the movie One Night in Miami led me back to Sam Cooke’s Portrait of a Legend: 1951-1964; the resulting dive into soul music ultimately brought me to Marvin Gaye’s classic concept album What’s Going On — 50 years old in 2021! Perusing various “best of 2020” lists turned me on to the avant-garde jazz of trumpeter Ambrose Akinmusere’s on the tender spot of every calloused moment and Maria McKee’s art-pop song cycle La Vita Nuova (inspired by Dante, no less). Jazz/fusion legend Chick Corea’s death prompted a deep dive into his catalog; new favorites included Return to Forever’s Where Have I Known You Before and the fabulous Five Peace Band Live, Corea’s long-delayed collaboration with guitarist John McLaughlin. And after long years of the album doing nothing for me, Radiohead’s The Bends finally clicked when I read Steven Hyden’s fine band biography This Isn’t Happening. (Curt Bianchi’s wonderful new book, Elegant People: A History of the Band Weather Report, is prompting a similar deep dive into that quintessential jazz/rock band’s catalog; I highly recommend their cutting edge debut album from 1971 and their 1976 masterpiece of groove, Black Market.)

Coming Soon: In addition to Big Big Train’s Common Ground (take it from me, it’s a humdinger), I highly recommend MoonJune Records’ latest release, Indonesian fusion guitarist Dewa Budjana’s incandescent Naurora. I’m also eagerly anticipating new music from the Neal Morse Band (oops, NMB now), Steve Hackett and Isildur’s Bane & Peter Hammill; reissues of BeBop Deluxe’s Live in the Air Age and George Harrison’s All Things Must Pass; and comprehensive box sets from The Beach Boys and Van Der Graaf Generator. Plus live shows from Kansas, Emmylou Harris and Los Lobos, King Crimson with The Zappa Band, and opening night of Genesis’ USA tour.

So, yeah, it’s taken a while — but at least from my point of view, 2021 has already been a solid year for music — and the prospects for it getting even better are looking up!

— Rick Krueger

Friday Night Progressive – 10th Anniversary Show

The Friday Night Progressive online radio show is celebrating its tenth anniversary tomorrow night (June 25, 2021) starting at 9PM EST. The show is hosted by Ron Marquiss, and it celebrates the best in independent progressive rock, instrumental, and fusion. The free show focuses on the more complex and technical side of the genre rather than the poppier stuff. You can find links to all the places you can listen to the show live over at their website: https://fridaynightprogressive.com.

Drive In Movie Band Cover (1)In addition to the tenth anniversary show, Ron is releasing a short album called Lines & Circles under the band name, Drive In Movie Band. The group features musicians from all around the world. This just under a half-hour album is all instrumental, highlighting the complex and jazz side of the genre. The first track even has a bit of an early King Crimson vibe. 

Lines & Circles has the following lineup: 

  • Ron Marquiss – Composition, Keys, Guitar, Bass
  • Jordan Marquiss – Drums
  • Joe Compagna – Bass
  • Nathan Ames – Guitar
  • Adrianne Simioni – Violin
  • Astraea Antal – Flute
  • Bret Harold Hart – Guitar and other instruments
  • Brent McDonald – Guitar and Keys
  • David Leiter – ELP sound FX

The albums are a way for Marquiss to cover the costs of running the free Friday Night Progressive radio show. You can check them out at the following links:

Melodic Revolution Records: https://mrrmusic.com/project/drive-in-movie-band/
https://driveinmovieband.bandcamp.com

What Game Shall We Play Today? Remembering Chick Corea (1941-2021)

You wouldn’t have had your Chick Coreas five years ago. Chick Corea doesn’t have to really dress up in blazer gear to get a wide following. It just goes to show you that it’s not a question of image these days. It’s more a question of the actual music.

Keith Emerson, Keyboard Magazine interview, October 1977

In late 1976, my older brother changed my life by giving me a copy of Keyboard Magazine. It was a pretty amazing periodical: in those days before digital sounds, computers and then-undreamt-of technology became the prevailing medium of modern music, Keyboard focused on the serious fun of playing and listening, mostly in interviews with pianists, organists and synthesists across a broad spectrum of genres, as well as in how-to columns and record reviews. That’s where Chick Corea, who cranked out a monthly “Keyboards & Music” column and whose remarkably frequent albums merited equally frequent cover stories, first caught my eye. And through the album My Spanish Heart, reviewed in that issue my brother gave me, he caught my ear as well.

“Armando’s Rhumba” from Chick Corea’s My Spanish Heart – with Jean-Luc Ponty on violin & Stanley Clarke on bass

More than a decade into his career, Corea had unquestionably paid his dues by the mid-1970s. Born into a musical family, gigging professionally in high school, and briefly pursuing classical studies at Columbia and Julliard, Corea jumped into the jazz world of New York City as both a sideman and a leader of striking originality (as on the seminal 1968 trio date Now He Sings, Now He Sobs). Which is when Miles Davis came calling: playing on Davis’ trailblazing In a Silent Way and Bitches Brew, then launching the avant-garde quartet Circle, Corea consistently sought the cutting edge of the music. But an encounter with L. Ron Hubbard’s Scientology movement abruptly shifted his perspective. As he said looking back,

The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.

Chick Corea, Artist Interviews.eu, 1994

That shift was palpable by 1972; in addition to the meditative Crystal Silence (an outstanding duet effort with vibraphonist Gary Burton), Corea was checking out more directly populist idioms. Teaming with bassist and lifelong musical compadre Stanley Clarke, he formed Return to Forever in 1972, traveling with lightning speed from the laid-back Brazilian vibe of Light As A Feather to the audacious jazz-rock suites of 1976’s Romantic Warrior. This version of RTF, also featuring Lenny White’s funky drumming and the flamenco-metal of guitar phenom Al DiMeola, even crossed over to the still prog-immersed shores of Great Britain:

Return to Forever on the BBC’s The Old Grey Whistle Test, 1976
Continue reading “What Game Shall We Play Today? Remembering Chick Corea (1941-2021)”

Kruekutt’s 2020 Favorites: Not Necessarily New Albums

This year, I’m starting off my “best of” retrospective with albums that aren’t technically “new” — compilations, live albums, reissues and (re)discoveries from previous years — that grabbed me on first listen, then compelled repeated plays in 2020. I’m not gonna rank them except for my Top Pick, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Where available, listening opportunities are linked in the album title or included below my summary via Bandcamp, YouTube or Spotify.

Big Big Train, Summer’s Lease (compilation) and Empire (live): This year, I’ve bought music from even more far-flung corners of the world than usual — including Big Big Train’s Japanese-only retrospective. Disc 1 features various rarities on CD for the first time: re-recordings old and new (including excerpts from my intro to the band, the Stone and Steel Blu-Ray), plus the “London Song” sequence from Folklore in all its sprawling glory. Disc 2 leans into the post-Underfall Yard era with a solid mix of epics and, um, shorter epics, plus an unreleased instrumental as dessert. It’s all impeccably curated, and (in retrospect) a fitting capstone to the work of recently departed Train crew Dave Gregory Rachel Hall and Danny Manners. In a similar fashion, Empire is a fond farewell — the last concert played by this incarnation of the band (including Cosmograf’s Robin Armstrong) before COVID-19 killed off their first-ever North American tour. Which makes the entire show, brilliantly performed as always, even more poignant, from the rocket-fueled opener “Alive” to the romantic, spiraling coda for the best version of “East Coast Racer” yet. Sorry, there’s something in my eye . . .

The Firesign Theatre, How Can You Be in Two Places at Once When You’re Not Anywhere At All (rediscovery): This spring, my big brother Bob pointed me back to this 1969 classic — quite possibly the single most insane comedy album ever recorded. The half-hour long title track’s surrealistic road trip morphs into a wickedly irreverent (yet oddly touching) patriotic pageant, with stopover cameos from Lewis Carroll and James Joyce; “The Further Adventures Of Nick Danger,” memorized and mimed to by me and my roommates back in college, is a hallucinogenic smoothie of hardboiled detective drama, time travel and the Beatles’ White Album. “Wait a minute — didn’t I say that line on the other side of the record?” Believe me, you need to find out.

Pat Mastelotto and Markus Reuter, FACE (discovery): My New Year’s resolution was to become a MoonJune Music subscriber through Bandcamp; twelve months later, it’s still one of the best musical decisions I made. In recent years, touch guitarist Reuter has become a major contributor to Leonardo Pavkovic’s ongoing quest to “explore and expand boundaries of jazz, rock, ethnographic, avant, the unknown and anything between and beyond,” frequently joined by King Crimson drummer Mastelotto (his partner with Tony Levin in Stick Men). The 2017 FACE (not actually on MoonJune) stands out in the duo’s catalog: a single, 35-minute instrumental travelogue that swiftly spans the globe and its myriad rhythms, aided and abetted by Steven Wilson and associates of David Lynch, Tool and the Rembrandts. Blink with your ears and you’ll miss the transitions from theme to theme and place to place; this one both demands and thoroughly rewards my attention every time. Hopefully, the excerpts linked above will convince you — don’t hesitate to hop on board!

The Neal Morse Band, The Great Adventour Live in Brno (live): every bit as impressive as when I saw this show in Detroit the same year, the NMB’s concert take on The Great Adventure is even tighter, more driven and more finely honed than the studio version. Kaleidoscopic contrasts of rhythm, instrumental color, vocal textures (mainly from Morse, guitarist Eric Gillette and keyboardist Bill Hubauer) and tonality mesh effortlessly with drummer Mike Portnoy and bassist Randy’s George’s badass forward propulsion, mirroring the lyrical highs and lows of the journey to John Bunyan’s Celestial City. The result is sustained, extended, unforced ecstasy in the Czech audience, capturing how Morse’s recent work embodies the ongoing ideal of American revivalist religion. A journey worth taking, whether you caught this in person or not.

Jaco Pastorius, Truth, Liberty and Soul: Live in NYC (live, archival, discovery): 2020 was the year I came across Resonance Records, where “jazz detective” Zev Feldman has been unearthing incredible archival treasures for nearly a decade. Jaco Pastorius single-handedly revolutionized electric bass playing in the 1970s; this 2017 release captures him in 1982, fresh from his boundary-busting stint in jazz-rock titans Weather Report. Fronting a big band of great players — the best New York horns, the drum/percussion duo of Peter Erskine and Don Alias, Othello Molineaux on steel pans and harmonica virtuoso Toots Thielmanns — Pastorius mixes classic tunes with his own soulful writing. It’s a mighty, bubbling noise — jazz, funk, rock, reggae, swing and more, with a groove that never stops and heart behind the flash. Irresistible for anyone with a pulse!

Porcupine Tree, In Absentia (deluxe reissue): Not the Porcupine Tree album that hooked me (that was Deadwing, promised its own deluxe box next year) but, looking back, my firm favorite of the band’s late period. Freshly signed to the American label that brought us Trans Siberian Orchestra, Steven Wilson and company made the polar opposite of a sentimental holiday album, focusing on the inner motivations of — serial killers? What makes that work? Well, how about: the full-on debut of Gavin Harrison’s stylish, rhythmically slippery drumming; Richard Barbieri’s off-center, arresting synth textures and solos; Colin Edwin’s relentless, incomparably steady bass workouts; Steven Wilson’s reignited love of metal slamming up against the songcraft developed on Stupid Dream and Lightbulb Sun, as well as a fixation with Beach Boys-tinged harmonies? Oh, and a clutch of superior tunes that became perennial favorites, both on the main album (“Blackest Eyes,” “Trains,” “The Sound of Muzak”) and the bonus disc (“Drown With Me,” “Futile”). Add in subtle yet superb remastering and you have a near-perfect example of how these boxes should be done.

Pure Reason Revolution, The Dark Third (reissue): At a time when progressive rock’s troops were thin on the ground, PRR provided reinforcements — and a breath of fresh air. It’s still hard to believe a major label released The Dark Third back in 2006; the effortlessly evolving long-form suites, the sweet-and-sour pairings of lush soundscapes and jacked-up beats were a vivid variant on Pink Floyd’s classic palette that turned the bass and drums up to 11. Jon Courtney, Chloe Alper and their cohorts weave the webs of melody and harmony; Paul Northfield’s co-production brings out the cavernous bottom end. The new bonus disc includes both the intriguing student work that led to Sony signing PRR and outtakes that showed up in different forms on later albums. Always an booming, blissed-out listen, now more inviting than ever.

Tears for Fears, The Seeds of Love (reissue): A marvelously all-over-the-place, widescreen record. Unabashedly pop but also fearlessly expanding the TFF sound into psychedelia (the title track was everywhere back in 1989), soul (big shout-out to Oleta Adams and Tessa Niles, who pushed Roland Orzbaal and Curt Smith to new vocal heights on “Woman in Chains” & “Swords & Knives”), jazz (Nicky Holland & Adams serve up stunningly tasty piano), world music (Jon Hassell’s superlative trumpet on “Standing on the Corner of the Third World” & “Famous Last Words”) and even a touch of prog-funk on “Year of the Knife.’ The squeaky-clean remaster (plenty of headroom and dynamic range) is dandy, but if you need more, the super-deluxe set linked above includes some dynamite rehearsal recordings.

and my Top Pick . . .

Ella Fitzgerald, The Lost Berlin Tapes (live, archival): My recent listening has tacked in the direction of mainstream jazz; if I had to speculate as to why, I’d say I might be looking for less tension and more release during my unobligated time. But what’s on offer is a factor as well. Instead of baking sourdough bread or taking up acoustic guitar during the time of COVID, it’s as if jazz musicians and aficionados have all dug deep in their closets and simultaneously unearthed long lost vintage recordings — which record companies eager to fill their distribution pipelines have snapped up and launched into the wider world. 

This, in my view, is the best of that harvest: an astounding, life-affirming 1962 concert buried in the archives of Ella Fitzgerald’s manager until now. Ella and her fellas (Paul Smith on piano, Wilfred Middlebrooks on bass, Stan Levey on drums) are at their absolute peak, in tune with each other and with an extroverted, enthralled Berlin audience. Every note of this concert radiates warmth and inner joy, even when the mood darkens on torch songs like “Cry Me A River” and Billie Holiday’s “Good Morning Heartache.” And when Ella swings on “Jersey Bounce,” jumps on “Clap Hands, Here Comes Charlie,” digs into Ray Charles’ “Hallelujah, I Love Him So” (resulting in an immediate, complete encore!), then breaks into her trademark scatting on “Mack the Knife,” well, she is unstoppable. I have had no finer feeling listening to music this year; whatever may ail your soul, I believe that The Lost Berlin Tapes are good medicine for it.

But wait, there’s more! Watch for my “new album” favorites from 2020 coming soon . . .

— Rick Krueger

The Progarchy Interview: Mary Halvorson

In his 2018 book Playing Changes: Jazz for the New Century, Nate Chinen devoted his final chapter to guitarist Mary Halvorson, rightly declaring her “an original in every sense.” Her spiky, pick-driven timbre, sparse yet compelling use of effects, daring improvisational command and distinctly off-center compositions add up to a sound like no one else’s, effortlessly catching (then twisting) the ear regardless of context — from the radiant solo album of covers Meltframe to her head-spinning work with avant-garde trio Thumbscrew to the precise, conversational octet writing of 2016’s Away with You (my first, heady exposure to her music).

Also in 2018, Halvorson released Code Girl, her first extended foray into songwriting; the band she put together for the album boasted serious roots in jazz, but fearlessly mashed up genres and straddled extremes of expression, pivoting on a dime from a murmur to a scream and back again. On October 30, the revamped Mary Halvorson’s Code Girl (pictured below) returns with a second album, Artlessly Falling. Reconnecting with vocalist Amirtha Kidambi, bassist Michael Formanek and drummer Tomas Fujiwara, Halvorson also welcomes new collaborators Adam O’Farrill (trumpet) and Maria Grand (tenor saxophone and voice). For the cherry on top, three of the new tracks are sung with gravity and grace by Soft Machine founder Robert Wyatt, one of Halvorson’s most profound influences.

Code Girl, left to right: Maria Grand, Michael Formanek, Amirtha Kidambi, Adam O’Farrill, Tomas Fujiwara, Mary Halvorson.

It was an utter delight to speak with Mary Halvorson — a thoughtful musician and a serious music fan — about her approach to lyrics, songwriting, composition, collaboration, improvisation and more. The video of our conversation is below; a lightly edited transcript follows the jump!

Continue reading “The Progarchy Interview: Mary Halvorson”