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Mostly Other People Do the Killing: Paint (Hot Cup)

The first release by the piano trio configuration of Mostly Other People Do the Killing and features bassist/composer Moppa Elliott, pianist Ron Stabinsky, and drummer Kevin Shea, with each composition named after a small town in Pennsylvania that contains a color, and the town of "Paint, PA" lent its name to the title, with one apt Duke Ellington cover. ... Click to View


Moppa Elliott : Still, Up In The Air (Hot Cup)

Solo double-bass improvisations from Mostly Other People Do the Killing bassist and leader Moppa Elliot, consisting of sequences of contrasting themes, or musical cubism in the spirit of Picasso and Braque, presenting 7 of 14 sequences where the improvisation is a series of disparate musical ideas that transition rapidly in an attempt to disrupt the linear progression of thematic development. ... Click to View


Leandre / Minton: Leandre / Minton (Fou Records)

Phil Minton started as a trumpeter and became one of free improv's most outside vocalists; Joelle Leandre is a double bassist who also performs free vocal improv; this is their first recorded collaboration, and it's an unusual and wonderful album of heavy tone improvisation, plucked and bowed, and a masterfully odd free association of vocalisation. ... Click to View


Talibam! : Endgame Of The Anthropocene [VINYL] (ESP)

Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion. ... Click to View


Talibam! / Matt Nelson / Ron Stabinsky: Hard Vibe [VINYL] (ESP)

Talibam! with Matt Mottel on sax, Kevin Shea on drums, Matt Mottel on Fender Rhodes and synth and Ron Stabinsky on organ take inspiration from Herbie Hancock's 70's electronics, Miles Davis' "On the Corner" and Albert Ayler's New grass in compositions that transforms aspects of rhythm changes into a disciplined sequence, a new take on psychedelic jazz. ... Click to View


Crys Cole / Oren Ambarchi: Hotel Record [VINYL 2 LPs] (Black Truffle)

A double LP and the second release from the duo of Crys Cole and Oren Ambarchi, also romantic partners, as they explore their relationship through sound and voice, each side presenting a unique approach to their collaboration while maintaining a certain somnambulist feeling over rich guitar and organ work, and other unfathomable sound. ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Thinking Out Loud (Trost Records)

The third album from this international trio of powerful improvisers--Norwegian drummer/percussionist Paal Nilssen-Love, Chicago bassist Kent Kessler, and Chicago/NY saxophonist Mars William-- in four odysseys that take the listener from introspective playing to out and out blowing, using technique to serve their incredible dialog. ... Click to View


Sven-Ake Johansson / Alexander Von Schlippenbach : Schraubenlieder [VINYL] (Trost Records)

Drummer Sven-Ake Johansson is also a poet, writer and visual artist; here he joined forced with Alexander von Schlippenbach in 1988 to record these songs, never previously released, sung in German and English, for a set of 9 fascinating narrations that engage the listener independent of language, as von Schlippenbach improvises with prodigious technique. ... Click to View


Annette Peacock & Paul Bley: Dual Unity (Bamboo)

Reissuing the debut album by vocalist Annette Peacock and pianist Paul Bley recorded during their first European tour in 1970, in a quartet with compatriots Mario Pavone on bass and Laurence Cook on drums, Bley using an early Moog synthesizer; unique and original avant jazz. ... Click to View


Paul Bley Trio: Closer [VINYL] (ESP)

A vinyl reissue of Paul Bley's 2nd ESP album from 1966, a lyrical and lush trio setting with material mostly from Carla Bley, one Ornette Coleman number, and one from Annette Peacock, with Steve Swallow on bass and Barry Altschul on percussion, exploratory free jazz that uses melodic intention in assertive but not aggressive aways; a classic. ... Click to View


Pharoah Sanders : Quintet [VINYL] (ESP)

A vinyl reissue of Pharoah Sanders' 1965 debut release on ESP, in a quinet with Jane Getz on piano, William Bennett on bass, Stan Foster on trumpet and Mavin Pattillo on percussion, decidedly a jazz album from this outside player known for his association with John Coltrane in his freeist moments, here bridging lyrical and avant worlds with powerful playing. ... Click to View


Wadada Smith Leo: Najwa (Tum)

Paying tribute to musicians whose vision paved the way for modern creative players to use new approaches, language and philosophy in improvisation, trumpeter Wadada Leo Smith's band with four guitarists, electric bass, drums and percussion dedicates five incredible compositions to Ornette Coleman, John Coltrane, Ronald Shannon Jackson, and Billie Holiday. ... Click to View


Wadada Smith Leo: Solo - Reflections And Meditations On Monk (Tum)

An intimate album of solo trumpet from Wadada Leo Smith, performing compositions by Thelonious Monk, Smith professing in an essay in the accompanying booklet that he was motivated to become a composer by Monk above other contemporaries for his ideas of composition and bands; his admiration and love of Monk's work is clear in this beautifully lyrical album. ... Click to View


Aki Takase / Alexander von Schlippenbach: So Long, Eric! Homage to Eric Dolphy (Intakt)

Alexander von Schlippenbach and Aki Takase assembled an ensemble of Dolphy interpreters that includes bass clarinetist Rudi Mahall, saxophonist Tobias Delius, vibraphonist Karl Berger, trumpeter Axel Dorner, trombonist Nils Wogram, &c, for a fresh take on compositions from one of free jazz's most iconic composers, Eric Dolphy, captured live in Berlin, 2014. ... Click to View


Steve Noble / Yoni Silver: Home (Aural Terrains)

The two-headed snake on the cover of this album aptly describes the sublimely sinuous and dark interplay between London free jazz drummer Steve Noble and bass clarinetist Yoni Silver, their 4-part improvisation taking on sinister elements of exceptional cymbal techniques, unusual drum tones, and extended lower register tones and high harmonics; excellent. ... Click to View


Various Artists: Asian Meeting Recordings #1 (Doubtmusic)

Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c. ... Click to View


Jim Black Trio: The Constant (Intakt)

A beautiful example of the modern piano trio, led by in-demand drummer, Jim Black, with Elias Stemeseder the pianist and Thomas Morgan on bass, in a lyrical album that uses Black's compelling and elusive drumming on 9 original Black compositions and one unexpected standard, as all three deliver complex playing that sounds accessible and engaging, a true achievement. ... Click to View


Fred Frith / Barry Guy: Backscatter Bright Blue (Intakt)

Both bassist Barry Guy and guitarist Fred Frith are key artists of Switzerland's Intakt label catalog, but surprisingly the two have never shared a stage together; Intakt had a feeling about their pairing and brought them into the studio, this superb duo album being the result in 10 brilliant tracks intertwining acoustic double bass and electric guitar. ... Click to View


Fred Frith Trio: Another Day in Fucking Paradise (Intakt)

Proclaiming that he nothing more in mind then getting together with a couple of formidable musicians, guitarist Fred Frith and Mills College alumni Jordan Glenn on drums and Jason Hoopes on electric and double bass take their listeners through 13 connected pieces that reference rock, jazz and ea-soundscape in an impressive album from a remarkable new group. ... Click to View


Lotte Anker / Fred Frith: Edge Of The Light (Intakt)

An intimate dialog between frequent collaborators, UK guitarist Fred Frith and Copenhagen saxophonist Lotte Anker, both players listening carefully as they interact in a fragile dialog of profound technique and inventive approach, using texture and nuance to create unusual and captivating interchanges that demonstrate how compatible these two very different instruments can be. ... Click to View


Schlippenbach Trio (Schlippenbach / Evan Parker / Lovens): Features (Intakt)

The long-standing Schlippenbach Trio with Evan Parker on saxophone and Paul Lovens on drums presents 15 concise "Features", improvisations of great depth and diversity, from the beautifully stark solo piano that opens the album to intense collective interactions, avoiding excess in deference to the profound expression of an inspiring group chemistry. ... Click to View


Mark Dresser : Modicana [VINYL] (NoBusiness)

Double Bassist Mark Dresser, a mainstay of the Downtown NY scene as an improviser and composer, and also prominent on the US West Coast and as an international touring artist, releases a powerful album of distinctive solo playing, both technically and melodically, with 2 tracks caught live at the Umea Jazz Festival and others recorded at the University of California, San Diego. ... Click to View


Bobby Bradford / Hafez Modirzadeh / Ken Filiano / Royal Hartigan: Live at the Magic Triangle [VINYL] (NoBusiness)

A live concert at Amherst, Massachusetts in 2016 as part of the Magical Triangle Jazz Series from the quartet of legendary cornetist Bobby Bradford, Turkish saxophonist Hafez Modirzadeh on tenor, in-demand New York bassist Ken Filiano, and percussionist/drummer Royal Hartigan, the band performing two Bradford compositions, with one each from Filiano, Modirzadeh and Hartigan. ... Click to View


Andrew Lamb / Warren Smith / Arkadijus Gotesmanas: The Sea of Modicum [VINYL] (NoBusiness)

Captured live at the 2016 Vilnius Jazz Festival, the free jazz trio of saxophonist Andrew Lamb and percussionists Warren Smith and Arkadijus Gotesmanas provide a unique orchestration, with the percussionists building rhythmic structures over which AACM alumni Lamb's powerful saxophone work emerges; a great album of solid exploratory free jazz. ... Click to View


Yedo Gibson / Hernani Faustino / Vasco Trilla: CHAIN (NoBusiness)

A fiery and energetic album of masterful free jazz from Brazilian saxophonist Yedo Gibson, Portuguese-Brazilian drummer and percussionist Vasco Trilla, and Portuguese bass player Hernani Faustino (Red Trio, K4 Quadrado Azul), recording in the studio for 6 dynamic dialogs that uses a variety of approaches and references to free jazz and creative improv. ... Click to View


TON-KLAMI (Midori Takada / Kang Tae Hwan / Masahiko Satoh): Prophesy of Nue (NoBusiness)

Ton-Klami was an influential Japanese free improvising band active in the 90s, and leading to the solo careers of percussionist Midori Takada, pianist Masahiko Satoh, and saxophonist Kang Tae Hwan; here the band is heard in a 1995 live concert recorded at Design Plaza Hofu in Yamaguchi, Japan, recorded by Chap-Chap Records but never released. ... Click to View


Liudas Mockunas : Hydro [VINYL] (NoBusiness)

Lithuanian reedist Liudas Mockunas in an unusual record of clarinet and saxophone improvisations, from solo work of powerful technique to pieces using water prepared instruments to create a wealth of bubbling and aberrant sound on the instrument, side A presenting the 7 part "Hydration Suite", Side B the 3 part "Rehydration", and "Dehydration". ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk [VINYL] (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


Sun Ra & His Myth Science Solar Arkestra: The Lost Arkestra Series Vol 1 & 2 [2 10-INCH VINYL RECORDS] (Art Yard)

A double 10" featuring unreleased and rare Sun Ra recordings, including a live track from Paris in 1983, two unreleased cuts from the "Disco 3000" concert tapes, a quartet session with Sun Ra on the Crumar Mainman synth, and three selections from the Sub-Underground series of Saturn LPs, including a ballad and new material from "Live at Temple" and "What's New". ... Click to View


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The Squid's Ear
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The Bottom Shelf is where artists keep the records in their collections that they might not want you to see. Revealing early influences, unusual appetites or just guilty pleasures, we offer a peek at the shelves of some of our favorite musicians.


  Our Own Bottom Shelves  

Over the last year, we've asked musicians Ron Anderson, Anthony Coleman and Gary Lucas to come clean about their private predilections, to reveal for our readers the records they might try to hide when company comes over. For The Squid's Ear's First Or So Anniversary issue, publisher Phil Zampino and editor Kurt Gottschalk belly up to the bar, revealing some of the deep embarrassment of questionable riches in their own collections.



Phil Zampino's Bottom Shelf  

I take a lot of grief from certain friends regarding my love of progressive chestnuts like Van Der Graaf Generator, Gong, Jethro Tull and (early) Genesis.  Certain time-bound predilections simply refuse to fade. But last summer I revisited something from the beginning of my listening days: Steppenwolf, in particular, the Live album.  Anyone who gives me grief for this one needs to be ready for an earful.

I re-approached Steppenwolf Live with great trepidation.  This album sat alongside Iron Butterfly's In a Gadda Da Vida in my early listening habits.  Persistent memory dictates that it can't be uncoupled from visions of a spastic me, flailing around the living room and enthusing about how "cool" this music was.  At the age of 8 I really didn't understand anything clearly about the political and world crises of the day.  I knew there was unrest and criticism.  Steppenwolf became an unfocused focal point of that turbulent era for me.  I know as a child that I thought the song "Don't Step on the Grass, Sam" actually had to do with "Keep Off the Grass" signs, and how oppressive our government was for forcing us onto the path.  I didn't get any of the cocaine or sex references.  Hey, I was a kid!

The gatefold copy with the big Wolf's head on the cover that impressed me so belonged to my older brother.  I think in the end I listened to it as much as he did, and maybe a bit more.  I don't still listen to his Kiss albums.  But when Steppenwolf crept back into my head I at last bought my own copy on cd, of course, a tiny booklet with a picture that couldn't rival the power of that 12" wolf's head threatening you from the gatefold.  And I gave it a spin.

In reflection perhaps I just filed the memory of this album away until I needed it.  Maybe I knew that I shouldn't be burnt out on it when the message applied again.  Steppenwolf's songs express outrage and criticism of government practices that apply to our current situation.  Along with, of course, a lot of '60s 'turn on tune in, smokin' the grass' sentiment.  It talks about the war on drugs (Don't Step on the Grass, Sam, criticizes the using community at the same time (The Pusher) and, boldest of all, it takes on the government (Monster) with commentary that's clear and direct and every bit as vital today as it was then.  Between songs John Kay talk about working together with the government to preserve what's good in our great land.  It's uplifting, patriotic and challenging to the status quo all at the same time, while extolling the virtues of sex and pills and having a good old Magic Carpet Ride.  And it played on FM before Clear Channel owned the air.

Sadly Steppenwolf made a deliberate decision to shift away from their characteristic culturally charged spiel late in their career, a decision that resulted in some decent records that don't distinguish themselves from other rock blands of the time.  To these ears the music already sounds a bit out of step with the ever-changing rock scene they once carried such a strong voice in. Steppenwolf has remained a surprisingly tenacious band, and in their current incarnation they have a stiff schedule of biker shows, city fests and casino's planned for 2004.  I don't know if they still play Monster, but their message has never had a more appropriate time.  That it's not in heavy rotation on every classic rock radio station now is a sad statement of the time.

Steppenwolf.com

Zacherley, the "Cool Ghoul," was a '50s television movie prompter, a demonic figure who introduced monster movies to a New York area punctuated with ghastly sketches and creative comedic "break-ins" during the movies. John Zacherle was born in Pennsylvania, 1918 (the character he went on to create is spelled as "Zacherley"). He went on to make a splash with his song "Dinner with Drac" on the Parkway label, which ran to #6 on Billboard and garnered appearances on American Bandstand.  He put out a book, 3 lps, several singles, a few videos, even Transylvannian Passports. The personae of Zacherley lays itself out in an insinuated Charles Addams world of vampires, mummies, werewolves, monster monkeys, monster mothers-in-law and body snatchers.  He snorted with a characteristic condescendence while asking Igor for this or that assistance in his macabre machinations.  Zacherle was sardonic and, er, bitingly witty.  It was all in good fun, and to this day Zacherle plays to a small cult following.

I never watched Zacherley on TV.  My father did.  My father reveled in scary stories and in spooking his children.  He still tells with guilty amusement how he made my older brother, then a toddler, fly out of the bedroom as he tricked him into thinking there was a ghost in the room. Nightly he threatened us that while we slept the "liver snatcher" was going to sneak in and remove our livers through our noses using a pair of needle-nose pliers.

One day my father brought home a peculiar orange and black record on the Parkway label: Zacherley's Scary Tales: a collection of "scary" songs and stories, narratives in pop genres - surf, jazzy pop, doo-wop, pop rock, done with capable studio musicians, good arrangements and decent production.  All the songs are sung by the ghastly Zacherley, who's Transylvanian laugh punctuated the music in a way that paid homage to and laughed at the idea of B horror.  I had no idea who he was, but I took to it immediately.  

For the next few years my family quoted the songs from that record, and many an afternoon my brother and I "surfed" our beds to "Surf Board 109" as the mummy took yet another a dive: "first bath he's had since 10 BC."  It was a good pop record, right up there with The Archies, and that's high praise coming from an 8-year-old boy (remembering how he cut out an Archies 7" single from the back of a Super Sugar Crisp cereal box...)  To top it off, the first track on the second side had three parallel grooves, so depending upon where you dropped the needle you got different lyrics.  How cool is that?...

Last year it struck me to find out what other releases were available, and to try to find a less destructed copy of the lp than my brother and I had left my father. I searched eBay - the melting pot of all unusual and cul-de-sac culture - and found that the "Spook Along with Zacherly" lp had been rereleased on cd; relieving, as I'd seen the original lp at a record collector's show priced at more than $200!  I "bought-it-now," and successfully bid on the "Monster Mash" LP as well.  Sadly "Scary Tales itself has been less forthcoming.  Of the 3 releases I now have access to I still mostly listen to a cassette tape of our very crackly copy of "Scary Tales."  I'm sure that's pushed on by my inner 8-year-old's devilish grin, part of the frightening amount of happiness that tape brings me.

Zacherley.com





Kurt Gottschalk's Bottom Shelf  

The Beatles ruined pop. Before the Fab Four took over the western world, there was a suitable division of labor. You had singers, songwriters and instrumentalists. Nobody was expected to do it all. But in the epoch after John, Paul, George and Ringo, rock bands were expected to do it all and look good too.

In the course of seven short years, The Beatles led a wave that made teenybopper music into art and created an undying catalogue that would come to represent saccharine sentiments and overblown pop craft. Bad jazz singers and boring cover bands have made gallons of schlock from their songbook.

There have been good covers, of course, and tributes worth owning. Aki Takahashi has recorded great solo piano arrangements by the likes of John Cage, Frederic Rzewski, Carl Stone and Alvin Curran. Laibach bent Let it Be into an industrial dirge. Big City Orkestraw looped and mutated the boys on beatlerape. The Knitting Factory collected covers by Lydia Lunch, Eugene Chadbourne, Samm Bennett, King Missle and others on Downtown does The Beatles. Mike Westbrook's Off Abbey Road (Enja, 1990), with Phil Minton singing on half the tracks, has it's moments, and Sarah Vaughan's Songs of The Beatles is notable, if only for the chance to hear her warble "Come Together."

My collection, unfortunately, isn't limited to interpretations of merit. I have a regrettable tendency to horde the worst Beatles tributes I can find, which are generally available in the $2 bin.

Liverpool 1962 is an odd name for a 1990s mariachi record, but it leaves little doubt about the group's impetus. The 13-piece Mariachi Mexico de Pepa Villa make some frightfully lush detritus of the usual picks for sappy rendition ("Eleanor Rigby," "Yesterday," "Michelle," "The Long and Winding Road," - yup, McCartney comps all), and stretch out to include a couple from the solo years (Lennon's "Woman" and McCartney's "No More Lonely Nights"). It's remarkable how trumpets and strings can sound like a cheap synthesizer in the right hands. The title track is an original composition that evokes the working class English like Bugs Bunny playing Napoleon.

When I was a teenager, a distant and senile relative invited me over to listen to his record of The Canadian Brass playing The Beatles. Polite Midwestern punk that I was, I said I'd like to and promptly fled. In later years, I regretted passing up the surreal opportunity, so I was excited when I later found their 1998 All You Need is Love. It's livelier than the mariachi tribute, which makes it even harder to listen to. The liner notes point out that "no one knows exactly when pop music crosses from its world into the classical domain," suggesting that somehow the quintet have bridged the gap. Maybe I should have stuck with punk.

The hallmark for insipid interpretation is of course Muzak, so I was stoked to find an actual Muzak cd in the cut-out bin at Tower Records. Surprisingly, it seems closer to the spirit of The Beatles than the preceding titles, if only for the presence of electric guitars. Instrumentally Yours was released in 1999, around the time the corporation was trying to update its image and began switching from elevator music to feeds of actual songs. The musician credits shed little light on the culprits of this watered-down apple martini (at least to me), but they do point out that proceeds from the disc go to the Heart & Soul Foundation. Muzak probably should have been a grant recipient rather than a benefactor.

Not in need of a heart transplant is David Peel, who had a counterculture hit with Have a Marijuana in 1968 and worked hard as hell to weave gold from the short straw of having met, and apparently been complimented by, John Lennon. Bring Back the Beatles, from 1977, is a stoner declaration of, uh, what was I talking about? Tracks include covers of "With a Little Help from my Friends" and "Imagine," adapted to the three chords Peel knew, and no end up tracks written for the subjects of his adoration ("The Beatles Pledge of Allegiance," "The Wonderful World of Abbey Road," "Apple Beatle Foursome," "The Ballad of James Paul McCartney," "Keep John Lennon in America" and, of course "B-E-A-T-L-E-S"). This is your brain. This is your brain in a skillet.



continued...





Previous Bottom Shelf Articles:
Anthony Coleman's Bottom Shelf
Gary Lucas
Ron Anderson


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