JUNE 09′
ALICE COLTRANE WITH STRINGS “WORLD GALAXY”
Although “Dedicated to That Great Cosmic Unseen”, I’m not sure the Peter Max cover gets us there… As delightfully 70’s as it is, it’s more like a Marcel Merceau (RIP) tour poster than a representation of the universal beyond. Visuals aside, the music definitely taps a higher plane, soaring magically with its funky psyched-out jazz, eastern Indian vibes, tape speed manipulations, and dis-harmonic noise. Combined with deep Hammond-style workouts and the usual graceful harp and piano playing, Alice mixes elaborate string arrangements to flesh out these compositions with an upper atmospheric sensibility. Not sure why it remains out of print though, with it’s “Journey in Satchidananda” reprise (”Galaxy in Satchidananda”), and retooled versions of “My Favorite Things” and “A Love Supreme”, you’d think Impulse would have done a re-up by now. Featured here are the great Leroy Jenkins on violin, heavy hitter Reggie Workman on Bass, Frank Lowe on sax and percussion, Ben Riley drums, Elayne Jones tympani, and about 15 other players for the string accompaniment. Additionally, Swami Satchidananda (who, in addition to Alice, had western disciples including John Fahey, Allen Ginsberg, and Carole King) delivers a narration to husband John’s “A Love Supreme.” The tracks were recorded 11/15 and 11/16, 1971 at The Record Plant, and “This record has been mixed for compatible quadraphonic and stereo reproduction, and should provide stimulating and enjoyable music when played on any playback system.” *No logical breaks appear after track one on the first side, so there are only three tracks total in the .zip.
Side One:
1. My Favorite Things (6′22)
2. Galaxy Around Olodumare (4′15)
3. Galaxy In Turiya (9′55)
Side Two:
1. Galaxy In Satchidananda (10′25)
2. A Love Supreme (9′58)
Impulse, Stereo AS-9218, 1972
[.zip]
INDIA’S MASTER MUSICIANS: ALI AKBAR KHAN & L. SUBRAMANIAM WITH ALLA RAKHA ON TABLA
Remember all those Irwin Allen productions like “The Poseidon Adventure” and “The Towering Inferno”, where the star-studded cast should have made the films better than they were? Well this record is nothing like that… It’s amazing! South vs. North! Two giants of the form go toe to toe on two epic sides of virtuosity, playing variations on the Raga Sindhi Bhairavi, one side slow, one side fast. Deep intensity here, with the two masters maintaining a respectful balance throughout — although, if contemporary recordings of Indian classical music have ever shown a macho streak, it might be on this record. This live recording was captured somewhere in the 70’s early 80’s (?) as part of Ravi Shankar’s Music Circle, and although the liner notes give background on the performers, they offer nothing by way of where or when the performances actually took place. Also featured is Zakir Hussain on tabla (who played with John McLaughlin, George Harrison, and others), and Ramnad V. Raghavan, mirdangam (Ali Akbar Khan RIP 1922 - 2009).
Side One:
1. Sindhi Bhairavi: Alap, Slow Theme in Dadra, 6 Beats, (24′10)
Side Two:
1. Sindhi Bhairavi: Fast Theme In Teental, 6 Beats, (24′28)
Bainbridge Records, RSD-27, 1981
IAN MATTHEWS “IF YOU SAW THRO’ MY EYES”
At times sounding like a Byrds/Elton John fusion, and at other times something with roots in the UK folk revival of the 60′ s and 70’s (Ian was a vocalist for Fairport Convention), this second solo outing is a solid (if not a bit overproduced) outlay of vocal and songwriting excellence. If you like the 70’s mainstream sound, but wish you could find something fresh from that period (and haven’t heard Ian’s solo work), then this is the record for you. With gorgeous vocal chops and a unique blend of contemporary musical styles and influences, Ian’s songwriting is for the most part never too sentimental or self conscious. Very much its own sound in the end, all the songs are well crafted and embracing, while at the same time circumventing a lot of the hooks that characterized the period (all tracks were written by Ian except for “Reno Nevada”, “It Came Without Warning” and “Morgan the Pirate”). The session included among others Sandy Denny (Fairport Convention), Keith Tippet, and most notably the precision guitar work of Richard (The Fly) Thompson (also Fairport Convention). Definitely a sound that hits you right away, but also seems to grow and develop over time.
Side One:
1. Desert Inn (3′30)
2. Hearts (3′12)
3. Never Ending (2′48)
4. Reno Nevada (4′47)
5. Little Known (2′55)
6. Hinge (1′20)
Side Two:
1. Hinge (’25)
2. Southern Wind (3′10)
3. It Came Without Warning (4′01)
4. You Couldn’t Lose (3′35)
5. Morgan The Pirate (6′41)
6. If You Saw Thro’ My Eyes (2′34)
Vertigo Records, Stereo VEL-1002, 1971
[.zip]
IRAN VOL. 1 ANTHOLOGIE DE LA MUSIQUE TRADITIONNELLE: SETAR ET TAR PAR DARIUSH TALA’I
So presumably you’ll be intrigued and download this, listen to the first track and think, ‘nice stuff.’ Then, as the second track evolves you’ll say “Holy Shit! I had no idea Iranian music sounded like this!!!” At least that was my reaction the first time I played it… Only three tracks, but what a show stopping workout by Mr. Tala’i! Originally released in 1979, and most likely recorded sometime thereabout, these interpretations are unlike any I have heard on Iranian classical music records. I posted Vol. 2 in this series on the January page which features Santur, while here featured are the setar and the tar (two instruments also highlighted in January on the Unesco “Iran vol. I” record). Dariush plays with wicked timing and emotional reverence, evoking an improvisational stance that seems to draw from western influences (doubtful). If there are other interpreters of Iranian classical music playing in this particular style I definitely want to hear more! From the liner notes:
“If this anthology opens with the tar and setar of Dariush Tala’i, it is because he is unquestionably the best 
qualified interpreter of these two instruments today, and his esthetic taste attracts him to the purest and richest classical forms of traditional art. Born in 1952, he began studying the tar at the age of 10 with the famous Ali-Akbar Shahnazi, descendant of the illustrious family of musicians. Later he studied ancient repertory with N.A. Borumand, and occupied the latter’s chair at the University of Teheran after his death… instead of following an easy career as a professional musician, he has withdrawn from public life in order to prepare himself to carry on this imposing legacy entrusted to him.”
Side One:
1. Dastgah-e Mahur (16′18)
2. Dastgah-e Chahargah (10′32)
Side Two:
1. Avaz-e Bayat-e Esfahan (17′50)
Ocora Records, 558540 HM 52, 1984, Paris
[.zip]
:ZOVIET-FRANCE “GRIS”
I don’t know if it’s because these guys were ahead of their time, they were that good, or both, but their music always sounds fresh no matter how often or how little I get around to listening to it. Certainly miles ahead of most noise/drone/experimental music coming out these days, this 1985 No Man’s Land release sounds and feels timeless. ZF’s music seems to always evoke moods that go right for the sinewy emotional and psychological recesses, nestling sounds into both brain and body — sort of the way Mirror’s music coats and embeds with its evocative washes of subtle and haunting beauty — once your infected, it leaves an indelible mark. So give this somnambulent 10″ a listen and ask why it keeps on ticking nearly twenty five years after the fact… and if the roofing shingle tar paper cover with its hand painted Soviet-like star (wreaking havoc on the vinyl and the paper inserts that came with it) don’t enthrall, the Maoist image creates a nice visual touch to accompany the subtle terror/beauty heard on the recordings. I only wish I had more of their stuff!
Side One:
Moresca, Luft, Shekinah (12′23)
Side Two:
Gris (8′45)
No Man’s Land, NML8505, 1985
[.zip]
JOHN JACOB NILES “I WONDER AS I WANDER: CAROLS AND LOVE SONGS”
This Tradition Records release from 1957 features the lovely and unique expressions of singer/songwriter/preservationist John Jacob Niles, whose personal style was so nonpareil, he might as well have been from another planet — I bet he even dreamed in song. Have you ever seen anyone cradle an instrument so tenderly and adoringly? The above image pretty much spells out how deeply involved he was with music, and after a few listens you’ll surely glean the enigma. Although a few devotional songs are interspersed on this record, many are love songs, most of which (if your from this planet) will send a particular chill through your heart of hearts. From the liner notes:
“As I look back across fifty years of public performances, I’m convinced that a concert singer who is not also a composer and a poet is at a definite disadvantage. Perhaps this point of view goes back to my early years: when I was a child growing up in Kentucky, we made what we needed. The daily life of my people at home was full of interesting snatches of music — perhaps just a single couplet and four measures of melody — none of which could be employed as it was in a concert performance, but much of which was usable in an extended and adapted form. We made our own fun, we made our own music. We also made our own instruments. When I was quite small, my father bought me a three-string dulcimer. But when I was up in my teens and wanted a bigger and better dulcimer, my father told me to get busy and make one. I’ve been making my own dulcimers ever since. The nature of my voice has had much to do with the material of my performances. In the lingo for the concert stage, I did not live in the lower registers. I soon discovered the electric effect of a male alto C-sharp, and this led me to compose a melodic line involving the highest notes in my range.”
Side One:
1. Waken, Little Shepherd (2′06)
2. Jesus, Jesus, Rest Your Head (2′24)
3. Frog Went A-Courtin’ (2′04)
4. Little Mohee (1′58)
5. The Sea Witch (3′22)
6. The Irish Girl (2′26)
7. Go ‘Way From My Window (2′37)
8. In That Lovely Far-Off City (1′40)
9. Look Down That Lonesome Road (2′26)
Side Two:
1. I Wonder As I Wander (2′26)
2. When Jesus Lived In Galalee (2′15)
3. Lulle Lullay (1′58)
4. Black Is The Color Of My True Love’s Hair (2′07)
5. Venezuela (3′41)
6. I Had A Cat (1′57)
7. The Lass From The Low Country (2′37)
8. John Henry (2′12)
9. I’m Goin’ Away (2.15)
Tradition Records TLP1023, 1957
[.zip]