Slobber Pup, the New York trio of Joe Morris (guitar), Jamie Saft (keys), and Balazs Pandi (drums) is joined by Norwegian saxophonist Mats Gustafsson for three incendiary pieces of free improv with an electric edge and a visceral approach that is absolutely hair-raising!
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Label: Rarenoise Records
Catalog ID: RNR-LP-056
Squidco Product Code: 21837
Format: 2 LPs
Packaging: LP - Gatefold
Recorded at Potterville International Sound, New York by Jamie Saft.
Jamie Saft-organ, keyboards
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1. Pole Of Combustible Memory (Part 1)
1. Pole Of Combustible Memory (Part 2)
1. Bring Me My Desire And Arrows To Shoot
1. Incendiary Axe
NY Downtown & Jazz/Improv
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sample the album:
"Recorded December 2013 in Jamie Saft's Potterville International Sound studio in the beautiful Catskills mountains, Pole Axe leverages the afore-mentioned chemistry and the tumultuous, monolithic yet psychedelic vigor of Mats Gustafsson's reeds, yielding three boundless free-form excursions. This journey, which starts with the torrential Pole Of Combustible Memory, continues with the equally extended Bring Me My Desire And Arrows To Shoot (a title inspired by William Blake) and concludes with Incendiary Axe, is a chiaroscuro stream of consciousness that might have been burned on 35mm analog reel. Visions relentlessly follow visions, temperature and texture changes flow into another without hardly rest."-Rarenoise
"There is a certain liquidity found in the stables of RareNoise Records keyboardist Jamie Saft is both everywhere and nowhere, a part of Berserk!, Metallic Taste of Blood, Plymouth, and Saft Swallow, & Previte. But perhaps Saft's most interesting project this that of Slobber Pup: a post-apocalyptic tenor + jazz organ trio, shot full of morphine and uranium, giving off neutron vibes laying waste to all in earshot. When the psalmist wrote of "joyful noise" he or she most certainly had Slobber Pup in mind. The band's inaugural recording, Black Aces (RareNoise, 2013) met with positive reviews. Not satisfied with the crime scene that recording left, Saft and company have returned with Pole Axe, an aural metaphor for what the listener may expect.
Pole Axe is comprised of a scant three pieces. The opening "Pole of Combustible Memory" is a dense half-hour of electric paroxysm introduced by drummer Balazs Pandi, guitarist Joe Morris and saxophonist Matts Gustafsson, in quick succession. Gustafsson picks ups where Archie Shepp left off at New Thing at Newport (Impulse!, 1965) and where Pharaoh Sanders picked up on Karma (Impulse!, 1969), committing chordal genocide at light speed. Morris gets extended solo space to probe with the speed of Shawn Lane and the aural lovechild of James Blood Ulmer and Link Ray. Saft quiets things down to a slow simmer summoning Jon Lord from "Lazy" (Made in Japan (Warner Bros., 1972)) and Garth Hudson's "Genetic Method." Anti-peace is restored at 18 minutes as the band begins its descent into the spasmodic coda of the Cthulhu Mythos.
"Bring Me My Desire and Arrows to Shoot" begins as introspectively as this band is capable, but an immediate anxiety permeates the sonic landscape. Dripping-water motifs punctuated with low reeds growls provides a foreboding backdrop for the cataclysm sure to be around the corner. "Ambient music for the schizophrenic," "Bring Me My Desire and Arrows to Shoot" illustrates, in music the dangers of recreational drug use among amateurs. Things ramp up at 9:00 with an anguished tenor cry, reaching a death crescendo before falling into a Placydil-induced narcosis.
The "straightest" of the three pieces, "Incendiary Axe" recalls the marathon saxophone-drum duets of John Coltrane and Elvin Jones. Critical mass is achieved on this brief, 4-minute piece illustrating that Slobber Pup can command all elements of jazz, rock, and blues since the big band. There is something very appealing about this anarchy of noise that makes this "music" vital. It exists as a wakeup call for all who have been hypnotized into an artificial slumber of safety and contentment, and all the while the wolves are barking to get in..."-C. Michael Bailey, All About JazzAlso available on CD.
Get additional information at All About Jazz
• Show Bio for Joe Morris
"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.
Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.
In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.
He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.
He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."-Joe Morris Website (http://www.joe-morris.com/biography.html)
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• Show Bio for Jamie Saft
"Jamie Saft (piano, organs, analog synthesis, bass and guitar, steel guitars) is a native of Queens, New York. Since returning to New York in 1993, Saft's stylistic versatility, multi-instrumentalist capabilities, and production skills have been featured with the Beastie Boys, Bad Brains, the B-52's, Laurie Anderson, Bobby Previte, John Zorn, Dave Douglas, Jerry Granelli, Holly Palmer, Marc Ribot's Los Cubanos Postisos, Elysian Fields, Black Beatle, Antony and the Johnsons, Chocolate Genius, JoJo Mayer's Nerve, E-Z Pour Spout, Cuong Vu, Chris Speed Trio Iffy, Jane Ira Bloom, and the Groove Collective.
Saft is a mainstay of the downtown scene and a member of bands such as The Beta Popes, Whoopie Pie, Swami LatePlate, The Shakers and Bakers, Kalashnikov, Pramrod Sexena, and John Zorn's Electric Masada.
Saft was the pianist for the New York and Paris premiers of John Adams' opera "I Was Looking at the Ceiling and then I Saw the Sky" at Lincoln Center and MC93 Bobingy.
Saft has recently composed a number of original film scores and music fortelevision. Recent films scored include the Oscar nominated film"Murderball", Sundance Grand Jury Prize winner "God Grew Tired Of Us",and currently airing HBO documentary "Dear Talula". Saft has alsocontributed score music for Nickelodeon, MTV, and A&E.."-Jamie Saft Website (http://www.jamiesaft.com/html/bio.html)
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• Show Bio for Mats Gustafsson
"Born 1964 in Umeå, Northern Sweden.Saxplayer, improviser and composer. Solo artist and international tours and projects with a.o. Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Ken Vandermark and in working groups The Thing, FIRE!, Gush, Boots Brown, Swedish Azz and Fake (the facts). Large ensemble work with Barry Guy New Orchestra,FIRE! Orchestra and the NU - ensemble.over 1800 concerts and over 200 record productions in Europe, Australia, Africa, North & South America and Asia.Collaborations with contemporary dance, theater, art, poetry as well as projects with noise, electronica, contemporary rock and free jazz.Discaholic - running the discaholic corner website.Producer of international festivals and concert tours as well as work with own record labels Slottet, OlofBright Editions and Blue Tower Records."-Mats Gustafsson Website (http://matsgus.com/archives/category/bio)
^ Hide Bio for Mats Gustafsson
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