Egg

Egg’s “Polite Force” LP, released on Deram in 1971. I found a rather good review while searching for some cover art that I think speaks quite accurate of this release: (review lifted from Amazon)

“This is extremely complex and fully-developed progressive rock (released in 1971 on the Deram label) that features the extraordinary keyboard talents of Dave Stewart with superb bass playing by Mont Campbell, and excellent drumming by Clive Brooks. Although this keyboard-led trio is part of the “Canterbury’ scene, the music sounds nothing like Caravan or Hatfield and the North. Rather, the music of Egg combines a significant proportion of dissonance and avant-garde tendencies with over-the-top technical excess (trust me-these guys are good players). In fact, it is this combination that might lead people to describe them as “intellectual” or “arty”. In terms of instrumentation the Hammond organ and piano are used nearly exclusively (with one short passage of pipe organ and altered mellotron on “Boilk”), and although the Tone Generator is used sparingly, synthesizers are generally absent. This was 1971 after all. Although the standard bass-keys-drums dominate, there are occasional “freak-outs” consisting of bizarre electronic effects in addition to a neat (and very short) horn section on “Contrasong” that was arranged by bassist Mont Campbell. Speaking of the bass player, Mont Campbell does not simply follow the left hand piano part but is thoroughly contrapuntal, which makes an Egg composition a bit more interesting than a composition written by a more famous keyboard-led trio. Although his vocal abilities are not great, the vocals are not a big part of the Egg sound and do not detract from anything. Odd time signatures abound and include meters such as 5/8 and 9/8, although more complicated time signature are used. Chord structures are also um…exotic and lend an air of doom and menace to the music. Sometimes the avant-garde aspects can get a bit grating (as on Long Piece No. 3) but are tolerable. The four pieces range in length from the 4′21 “Contrasong” to the epic 20′42 “Long Piece No. 3″ and are uncompromising in their metric and harmonic complexity. Cover art is very cool. Excellent stuff that is highly recommended.”

–> Enjoy!

Wayne Shorter

Wayne Shorter’s “Super Nova” was released on Blue Note in 1969. Shorter employed a very heavy outfit for this record: John McLaughlin (guitar), Sonny Sharrock (guitar), Walter Booker (guitar), Miroslav Vitous (bass), Jack Dejohnette (drums & thumb piano), Chick Corea (drums [!!!] & vibes), Airto Moreira (percussion), and Maria Booker (vocals). woof! This is a free’ish affair, with fusion leanings and is a far stray from traditional or bop jazz. There’s very little subtlety here and high moments are wringed with tension. Imagine ‘Bitches Brew’ without its rather simple themes pulling that lp together. The influence of Miles Davis’ early fusion work is felt throughout the music but there is nothing derivative about the often-surprising results.
This LP marked the beginning of Wayne’s transition to more free’ish playing. I personally am more fond of ‘Moto Grosso Feio’ and ‘Odyssey of Iska’, both of which eventually I will post here but I this is a expressive and strong record on the right pair of ears.

–> Enjoy!

Flying Lizards

Flying Lizard’s released their “S/T” 1979 debut on Virgin. This LP was way ahead of its time and remains one of the most timely releases of the ‘New Wave’ era.
There’s a myriad of themes sprinkled over the pulsing rhythms throughout this lp. Chocked full of apathy, irony, and indescribable oddness, the album stands alone amongst its (mostly forgotten) peers as an example of just how far out there pop music can get and still be endlessly playable. Masterful in its own deliberately insignificant way. Liquid Liquid is possibly the only other record I that is as uniquely relevant for this style of music and still remains a strong player today. Enjoy this beaut’!

–> Enjoy!

Mort Garson

By request, Mort Garson’s “Electronic Hair Pieces” released on A&M in 1969. This is Mort’s take on Galt MacDermot’s classic ‘Hair’. Hair spawn an unhealty amount of tribute records 60’s and 70’s but this was the first Moog impression. Mort’s renditions for the most part tastefully achieve being interesting and breathing some new life into the tunes without being just another ‘Moog does xxx’. There’s some dated moments and even a little fluff/cheese but nothing to groan over…it was 1969!
I prefer Mort masterpiece Black Mass/Lucifer but there we see orginal works and Mort able to stretch his arms out a bit. ‘Easy to be Hard’ has to be my fav on this LP, and the sleeve is top-notch!

–> Enjoy!

Jim O’Rourke

Jim O’Rourke’s “I’m happy, and I’m dancing, and a 1, 2, 3, 4″ LP released on Mego in 2001 (which I think is now out of print). The sleeve notes say, “recorded 97-99 live in ny, osaka and tokyo”. I’ve avoided putting newish releases on Curved-Air but couldn’t help myself on this one. While digging through my records yesterday I stumbled upon this LP. I had forgotten about it…out of site out of mind.
Anyway, this is a phenomenal release by the multi-talented and ever prolific Mr. O’Rourke. This is purely a laptop outting. Jim somehow makes ‘laptop music’ far less cerebal sounding here than is often be associated with laptop artist. All three of these songs are a testament to the potential of laptop composition beyond the realm of chin-stroking experimentation. Jim O’Rourke’s unique songwriting style somehow shines through the digital process, especially on “And I’m Singing,” and it’s equally amazing to me that he does so in such a contemporary way.
Enough talk about laptops! Its really good

–> Enjoy!

Paul Horn / Lalo Schifrin

Paul Horn’s 1965 ‘Jazz Suite on the Mass Texts’ on RCA Victor w/ the famous Lalo Schifrin composing and conducting. This is a masterful record. Blending classical compositions with modern jazz stylings. The reflective hymnal ambience and tension and release makes this a finely woven listen. The dynamics are powerful in this performance, and the communication between Horn’s quintet, the orchestra led by Lalo Schifrin, and the chorus is undeniably magical. Certainly much of the record can be found leading into the realm of experimental music, given basis of the material and the time frame in which this was recorded.

–> Enjoy!

The Fourth Way

The Fourth Way’s ‘The Sun and Moon Have Come Together’ released on Harvest 1969. Recorded live at the New Orleans House in Berkley and sounds fabulous. The line-up consist of: Michael White – voilin, Mike Nock – electric piano, Ron McClure – bass, and Eddie Marshall – drums.
This quite the jazz funk affair. When I picked this is up at Jivetime in Seattle, WA I couldn’t believe that I hadn’t heard it before. While the bass, keys, and sometimes piano get electrofied, it remains a organic feel throughout. Parts of the keys remind me of Zawinul’s playing with C. Adderley ‘Country Preacher’ but with more jazz roots seeping through.
Fourth Way’s career was short-lived and all of the band’s recordings remain out of print. It’s a shame, given the credentials and talent of every band member, that they are merely a footnote in the history of (electric) jazz. Their records can still be had for relatively cheap, which is great but given the caliber I don’t understand. Enjoy!

–> Enjoy!

American Contemporary CRI 443

Another great release on the American Contemporary CRI label ‘Satan’s sermon and other Electronic Fantasies’ released in 1980. This recording features four electronic composers: Variations on a Bagatelle – George Todd, Spectra – Daria Semegen, 11.2.72 Electronic music – Thomas Wells, Duration 2 – Jan Greenwald. Finding info on the record is pretty scant. George Todd’s offering here seems to have taken the largest interest and is highly regarded. Todd’s piece was done on the Synclavier, Semegen uses the Buchla 200, Wells some kind of FM, and Greewald the Noava 1200 Data Computer and Buchla 500.
Despite the title, I would say its not particular dark and definitely has no pop’ish leanings. These are finely composed experimental electronic pieces.
It never seizes to amaze me how incredible the sounds and inventiveness were 20+ years ago and the in contrast that with ‘electronic’ artists and composers of today. Maybe all this software has made’em soft?

Another ++ lp in my book.

–> Enjoy!

Agitation Free

Agitation Free’s ‘Malesch’ released in 1972 on Vertigo. I nabbed some words from the ProgArchives.com that speak far better than i do:

A classic of the German space genre. Their current music is a combination of Progressive Rock and New Instrumental Music, with touches of Jazz and passages dedicated to an experimentation near to Ambient. Their originality was due to the blend electronic and repetitive musics with a lot of ethnic elements from North Africa, India, etc. Very much like your early ASH RA TEMPEL, GURU GURU type bands except with a cultural influence.

“Malesch” is an ethic excursion and a clear passion for the European avant-garde with extended guitar solos and mesmerizing atmospheres. “Second” is more Euro-folk inflected, with a stronger use of acoustic guitars and bouzouki. Both “Malesch” and “Second” are excellent space excursions but absolutely brilliant recordings… ESSENTIAL!.

…and I’ll add, its good.

–>Enjoy!

Wolfgang Dauner

Wolfgang Dauner’s ‘Oimels’ released in 1969 on MPS. This quite possibly one of THE most archetypal albums on MPS! This Dauner record diversely mixes together funky jazz, Indian music, groove, and some of the weirder sounds floating around the European scene at the end of the 60s — handled here by Dauner on both piano and organ, plus guitar and sitar from Sigi Schwab, bass and cello from Eberhard Weber, and some especially heavy drum work from Roland Wittich! The record is famously known for the sitar funk number “Take Off Your Clothes To Feel The Setting Sun” — a track that also features vocals from Wolfgang — and other numbers have a very similar feel — throwing in a bit of vocals where you might not expect, and blowing part even familiar tunes with a tripped out version of psychedelic jazz!

This is really the ‘groovy’ album in Dauner’s excellent discography. I’m currently obsessed with all his works, or at least the ones i’ve managed to get my paws on. I’ll will be posting more as they come. I will get his ECM ‘Outpost’ LP up soonish too!

–> Enjoy!