The Bucky Rhodes Podcast: Recent Episodes

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If free jazz was the bomb dropped on the jazz world in the 1960s, much of the 70s was spent coming to terms with the new landscape that had been created (and the shrapnel had spread far and wide). I’m going to end the metaphor here, as it is getting a bit out of hand, but let’s suffice it to say “out” was influencing jazz in a variety of ways. To try and document the far reaches of out jazz in the 1970s in a single podcast is impossible, so again my attempt here is give a flavor for the out jazz of this era. The standard line is that jazz spilt more or less into three rival groups: those influence by free jazz, those looking into the fusion of jazz and other styles (notably rock music), and those continuing to explore the in the be-bop tradition. This, of course, is an extremely limited way of thinking. The artists of the time certainly did not think of themselves in these strict categories, and free, fusion, and bop playing often co-mingled.

Miles Davis – Gemini/Double Image – As much of a contrarian as Miles was in the jazz world, he rarely delved into anything we might call free jazz (probably didn’t want to give up the control). That being said he was one of the most forward thinking and dynamic band leaders of the 70s, and this attracted the best and brightest to his side. These other players brought with them many free influences, and this killer track really gets at this tension (with excellent results).

Andrew Cyrille/Ted Daniel/David Ware/Lyle Atkinson – Short Short – Throughout the 70s jazz’s popularity with the general public waned. Jazz clubs closed in cities everywhere. To combat this lack of legitimate venues (especially for less established players), jazz musicians in New York started hosting concerts (formal and informal) in their homes. This informal atmosphere and forced consolidation of players led to some of the most interesting combinations of styles in my mind, and laid much of the groundwork for the jazz that would come in the 1980s and beyond. This track is on the freer side but pick up the great “Wildflowers” compilation to get a true appreciation for variety in this “loft jazz” scene.

Rahsaan Roland Kirk – Seasons – Kirk wasn’t the first to stretch the limits of his instrument(s) to the max, but he is without a doubt one of the best. When you hear this track this thing to remember is that Kirk is the only wind player. Also note Kirk’s use of breath sounds and vocalizations through his instruments, this kind of playing would be taken to the next level of the next couple of decades in the out jazz world.

Sun Ra – Sea of Sounds/Rocket Number Nine – Sun Ra was from another planet. As far as I can tell he attempted to translate the pop music of his home planet into our meager musical forms. He is both within and without all musical idioms.

The Art Ensemble of Chicago – unanka – As much as jazz is a live experience, prior to the 1970s it had probably reached its peak of theatrical performance in the big band era (the racial and cultural reasons for this are complex, and suffice it to say I won’t go into it here, but it is an interesting investigation for anyone interested in the intersection of jazz history and society). The Art Ensemble of Chicago ostensibly played free jazz, but they took this seemingly apolitical music and turned it into a commentary/reflection of art and society in the 70s. From what they wore to how they freely incorporated avant-guard classical music elements this music showed that even the furthest out music could have nuanced and complex meaning.

Cecil Taylor – 3 Phasis (excerpt) – Another great leap in out jazz is the move away from a standard head->solo ->solo ->head arrangement. Pieces began to take on longer forms with only a minimal structure (if at all). At the same time, however, the pieces would progress as if there were a form (peaks, valleys, more ‘composed’ sections, etc.). The track (an excerpt) from an hour long group improvisation is a great example of this. Notice how the band can descend into seemingly free form chaos, and yet pull it all back together.

Derek Bailey and Anthony Braxton – Area 7 – Despite what you might think from the previous tracks not all out jazz of the 1970s was loud and fast. Subtlety and silence were also explored in great measure. Here we get two of the best planting the seeds for everything minimal that would come later.

Willem Breuker & Leo Cuypers – Aandeel 1+2 – Another misconception based on the above tracks is that out jazz in the 1970s was an American thing. This performance by two great Dutch players I believe puts that notion to rest.

Circle – Quartet Piece No. 3 – We have to end with Circle. This group formed by Chick Corea (formerly of Miles Davis’ band) and including Anthony Braxton and Dave Holland, incorporate nearly all the interesting/amazing elements of the artists on the previous tracks. This is not to say it is the best, but it is some damn good out playing.

Vol 1 of this primer on the 1960s can be found here: http://quakeronfire.podomatic.com/entry/2010-03-10T10_41_00-08_00

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Well I think it was good year in music, evidenced mostly by the fact that I know there are a good number of albums out there that I haven’t heard yet that would likely compete for the ‘best of.’ But of the ones I did hear, the list below is in ‘loose order’ of my favorites.

Justin Townes Earle – Harlem River Blues. I can’t imagine it is easy to write a country record about New York City, but where others have failed JTE succeeds (and then some).

Mark McGuire – Living with Yourself. If you are in certain circles of the music underworld you’ve likely got the idea that the band Emeralds had a great year. This one from Emerald’s guitarist Mark McGuire is, in my mind, their best. A ‘solo’ guitar record that manages to be equally successful in being both subtle and powerful.

Bill Callahan – Rough Travel for a Rare Thing. It seems this album came out with little fanfare. It’s a live album of some of the standard Bill Callahan (smog) material; but this album is not to be slept on. These are some wonderfully recorded, and beautifully arranged versions of these songs (many already classics).

Sam Amidon – I See the Sign. Despite the talk the last few years of a Neo-folk revival, very few great actual folk records have come out (plenty of acoustic rock, experimental blues, etc.). Sam Amidon, however, has finally managed it. This record of traditional tunes arranged in what I can only describe as a ‘subtly indie style’ really show off why these songs are classics, and not just relics of the past.

Hume – Penumbra. From my former and long time home in DC, Hume’s music falls into no particular category (I’ve heard prog-pop, but that’s not quite it). This can make them hard to sell, but piques my interest all the more. Also best video here: http://www.youtube.com/watch?v=3gBnwyvNigo

Joanna Newsom – Have One on Me. Newsom continues you to mature with each new release. This one is on lots of people’s lists with good reason.

Joe Fletcher and the Wrong Reasons – White Lighter. When you scratch surface of the local (Providence) alt-country scene beyond Deer Tick you quickly get to the real deal and that is Joe Fletcher and the Wrong Reasons.

Here We Go Magic – Pigeons. The number of indie rock albums coming out seems to have increased exponentially every year since the late 1990s, so it is hard to believe this area can be mined any further. This album, however, hits all those indie rock tropes, and yet remains fresh. For whatever reason this one struck me; must be the song writing.

Daniel Higgs – Say God. No one else has ever made a record like this, and I’m inclined to think no one ever will. Dan Higgs is a singular force, not of this time or place. These must be the renaissance hymns of some lost sect. Not for everyone, but at the right time and place it can carry you.

Here’s the mix, with tracks from all of the above records, and some additional tunes that really stood out for me this year. It starts out with the more traditional tunes, and evolves into the more experimental stuff (just let it wash over you), and then ends with the dance anthem of the year (Robyn) and a nod to some great guitar freak-out music (International Hello).

These Bodies That Came To Cavort - Jonathan Richman

Diamond Dancer - Bill Callahan

Every Heartbroken Man - Joe Fletcher & the Wrong Reasons

One More Night in Brooklyn - Justin Townes Earle

Climbing High Mountains - Sam Amidon

'81 - Joanna Newsom

Bottom Feeder -Here We Go Magic

Injera - Hume

Lazers - Edibles

Brothers (for Matt) - Mark McGuire

Twirling - Roland P. Young

Hoofprints On The Ceiling Of Your Mind - Daniel Higgs

Dancing On My Own - Robyn

Someone's Coming - International Hello

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These are the people, songs, albums that for whatever reason never gained the popularity I think they deserved for any number of reasons.

James Booker – Junco Partner – There are few things more fun than stumbling into a bar or club, and discovering an artist you’ve never heard of blow your socks off. I can imagine James Booker blew off a few socks in his day. Armstrong, Domino, and Dr. John may be the world ambassadors for New Orleans music, but none epitomized true New Orleans the way Booker did.

Huckle – Wild Blue Yonder – The vinyl this track is from is one of those ultra rare collector items that goes for triple digits if you can ever even find it. But in this case the hype is undoubtedly worth it (if you’re into this kind of thing). This track (and the whole album really) just nails that early 70’s southern folk/rock sound; made by a Canadian of course (see Neil Young, The Band, etc.). How Huckle never made it to the level of those guys is a mystery (probably something to do with the rarity of the recording).

Magic Hour – I had a Thought –Lost recordings of course don’t have to be old (or even hard to find). Magic Hour were one of those 90’s bands that just never seemed to make it into the mainstream or even the indie mainstream for that matter. Even with Damon and Naomi (of Galaxie 500) backing them, they never really got much more than regional attention.

Michael Head & the Strands – Queen Matilda – Another 90s “casualty” Michael Head gained some notoriety in a couple other bands, but this, in my mind, is his peak. It really should be up there with Nick Drake, Felt, and Belle & Sebatian’s early work as archetypes of chamber-pop.

David Wiffen – Don’t Think Twice, It’s Alright – From what I can tell in the 1960’s there were A LOT of folk singers. All you needed was a guitar and scruffy look; you didn’t even have to right your own songs! What typically happens when the ‘barrier to entry’ in a musical genre is fairly low is it becomes increasingly difficult to distinguish between the merely good and the great. David Wiffen may not have been one of the greats, but he was certainly really, really good. Mostly on his voice alone he makes the Dylan tune his own.

Lizz King – either/or – This album by Lizz King came out last year and pretty much no one noticed. You can and should get it here: http://ehserecords.com/ehse014.html (pay as you want for the mp3s).

Loren Mazzacane Connors with Kath Bloom – Fall Again – The fact that Kath Bloom was putting this stuff out in the late 70s and early 80s in quite astounding. Again a victim of very limited edition releases, the sounds here is a clear blueprint for much of the more experimental folk music that would come out a decade or more later.

Franco Battiato – Una Cellula- I believe Battiato is more well known internationally than he is stateside, so maybe this doesn’t qualify as lost. If you have any inclination for Brian Eno’s work, Battiato, while not as consistent as Eno, is worth exploring.

Thomas Mera Gartz – Busspassagerarens Sang – 70s psych/folk by a drummer in Swedish, I can’t believe no one’s heard of this guy ;-)

Shrimp Boat – Houston Tower – So a good number of people may know Shrimp Boat as Sam Prekop’s (of the Sea and Cake) first band (circa late 1980s), but few probably know much more than that. There are some elements that hint at the Sea and Cake here (see the weird interlude in this song), but not much.

Let’s Active – Crows on a Phone Line – Let’s Active was Mitch Easter’s band in the 80s. During this time he was also producer of some of R.E.Ms finest moments.

Psychic TV – The Orchids – A group known mostly for its experimental noise output, also happened to put out some beautiful pop songs (this one later covered by Califone). RIP Sleazy.

Strapping Fieldhands – Lay Down (Candles In the Rain) – Strapping Fieldhands is one of those band names that seems to stick in your mind (or at least mine anyway), even though you’ve never heard the music. Well I finally decided to check them out, and what I found was some amazing lo-fi rock anthems, and this is one my favorites.

Battering Ram – Come Out and Fight – Who knew there was real 20th c. Irish rebel folk music? I didn’t.

Crazy Dreams Band – Four Winds of the Owl – An “all-star” Baltimore band that in my mind should be indie darlings, but alas aren’t.

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Let me first set the stage. The top selling jazz artists for the year 1960 were Duke Ellington, Louis Armstrong, Charlie Parker, Lester Young and Count Basie. While all amazing musicians most of these guys were born at the turn of the century, and had been making jazz twenty plus years. So ‘young’ and ‘new’ was far from the forefront of the jazz record buying public. But just below the surface, just as in society in general at this time, something new was emerging. Young jazz musicians were getting back to the roots of jazz as a rebel music. Jazz itself for these musicians was defined by the fact that it was ever evolving, pushing boundaries, and reacting against whatever had come before. This is the first in what I hope to be a short series on “out jazz.” What is “out jazz”? Well, I guess we’re going to find out, but at its most basic level it is jazz that has attempted to be without precedent. Obviously going into the needed depth to fully appreciate or even take in all that is “out jazz” is a daunting task, so I’ve left this at the primer level. Basically, just a taste of all that I think is important to hear. This first mix tackles the 1960s, although the roots were certainly laid before this, it is in the 1960s that this kind of music first begins to bloom.

The proverbial first shot of a new movement was fired in 1960 with Ornette Colman’s Free Jazz album. Few albums have spawned an entire genre. Ornette leads a double octet (a quartet in each speaker) in what is more or less the first officially recorded free improvisation. All bets are off at this point, this is the spirit of jazz ‘without a net’ taken to its logical conclusion. From this point forward things start to open up (or maybe splinter off) in the jazz world.

The “out jazz” that follows Coleman in the 60s comes, as I see it, in three forms: the free players, the holiness players, and the blowers. So the mix is kind of set up that way, with the free players (Coleman, Cherry, Burrell, and AMM) up first. These guys are known for extended improvisations with little or no preconceived notion or solid structure. That is not to say it is necessarily chaotic, but it’s no jam over some blues changes either. The pieces here give a good overview of the various directions this can take you, the Don Cherry stuff pulling influences in from all over the world, the Burrell blistering through twenty minutes of controlled chaos, the AMM piece with its subtle sound sculptures.

The next group is the holiness players, here represented by Coltrane and Sanders. These guys often pull spiritual elements into their playing. The spirit is often playing through them, and we get the jazz equivalent of speaking in tongues. The playing is often based in more traditional jazz, but is soon taken to a higher level.

The third group is the blowers (Dolphy, Ayler, Brotzmann). These guys push their instrument to the max in every respect. The force is only barely contained, and you can hear it in these pieces. It sounds like their instruments are about to explode. The mix ends with Brotzmann, the king of this stuff, taking us off the deepend.

Obviously, most of these players could fit into any/all of these categories, but this arrangement seemed like an interesting way to touch on the diversity of styles within “out jazz” in the 1960s.

Ornette Coleman – First Take (Free Jazz - 1960)

Don Cherry – Eternal Rhythm Pt. 1 (Eternal Rhythm – 1968)

Dave Burrell – Echo (Echo – 1969)

AMM – Later During a Flaming Riviera Sunset (AMMmusic 1966 – 1966)

John Coltrane – Resolution (Part 2) (A Love Supreme – 1964)

Pharoah Sanders – Colors (Karma – 1969)

Eric Dolphy – Gazzelloni (Out to Lunch – 1964)

Albert Ayler – The Wizard (Spiritual Unity – 1964)

Peter Brötzmann – Music for Han Bennik I (Machine Gun – 1968)