This quintet is actually an outet, and if you are wondering why it's because Boykin is gonna take you to the outer reaches of the stratosphere, man. To prove it, he's thrown on a pair of Zubaz and he's playing his saxophone on a rock, to remind you all of how spiritual and connected-to-nature a jazz saxophonist can be. If he's trying to buy into the whole myth who can blame him? He's in Chicago and there's a hell of a scene there to grow up in. The picture makes him look pretty young and you'd think there wasn't a band since none of them are pictured, but this is very much a group deal. Boykin takes the center a few times for some tenor soloing but lots of the tunage is shared, particularly with the flautist, Nicole Mitchell. There's no point where this thing erupts - it's more concerned with constructing an atmosphere, one of spacey flowing melodic interplay. The tones hover around like a spaceship, with the drummer relegated to atmospheric percussion for most of side 1. 'Astro Lilly' does remind me of something off late 50's Sun Ra, only maybe better recorded. It's gotta be an influence, I guess, with the space imagery, and John Gilmore worship -- but I can't help but feel this is more of a chill out, down in the dirt, salt of the earth kinda record instead. Each track ends with such lackluster applause I'm amazed they kept it on the record -- it's like most of the audience was out in the lobby or something. I jest; there's no reason to rag on the David Boykin Outet, for their only sin is really being too rooted in the post-skronk anti-tradition, and that's no crime if you ask me. There's a lot of nuanced playing and the final track, 'Hypnotic', may not quite live up to its name but it's at least catchy, painting images of smoky air, wooden floors and brown trousers. There's a lot of vocalising but it's recorded sorta weirdly, so it's easy to tune out, though I like it. It's been twelve years since this was recorded and I haven't heard anything about Mr. Boykin so who knows where he is now. It's kinda weird this is on Thrill Jockey - almost like they owed someone a favour or something? I mean, the design/layout of the sleeve is practically shocking compared to the aesthetic they usually push and you think they were putting out Jim Shepard records around the same time as this ... what a funny world we live in. I remember this guy came to town once but it was a solo sax show so I skipped it.
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Showing posts with label eulogy. Show all posts
Showing posts with label eulogy. Show all posts
5 April 2010
The David Boykin Outet - 'Evidence of Life on Other Planets vol. 1' (Thrill Jockey)
This quintet is actually an outet, and if you are wondering why it's because Boykin is gonna take you to the outer reaches of the stratosphere, man. To prove it, he's thrown on a pair of Zubaz and he's playing his saxophone on a rock, to remind you all of how spiritual and connected-to-nature a jazz saxophonist can be. If he's trying to buy into the whole myth who can blame him? He's in Chicago and there's a hell of a scene there to grow up in. The picture makes him look pretty young and you'd think there wasn't a band since none of them are pictured, but this is very much a group deal. Boykin takes the center a few times for some tenor soloing but lots of the tunage is shared, particularly with the flautist, Nicole Mitchell. There's no point where this thing erupts - it's more concerned with constructing an atmosphere, one of spacey flowing melodic interplay. The tones hover around like a spaceship, with the drummer relegated to atmospheric percussion for most of side 1. 'Astro Lilly' does remind me of something off late 50's Sun Ra, only maybe better recorded. It's gotta be an influence, I guess, with the space imagery, and John Gilmore worship -- but I can't help but feel this is more of a chill out, down in the dirt, salt of the earth kinda record instead. Each track ends with such lackluster applause I'm amazed they kept it on the record -- it's like most of the audience was out in the lobby or something. I jest; there's no reason to rag on the David Boykin Outet, for their only sin is really being too rooted in the post-skronk anti-tradition, and that's no crime if you ask me. There's a lot of nuanced playing and the final track, 'Hypnotic', may not quite live up to its name but it's at least catchy, painting images of smoky air, wooden floors and brown trousers. There's a lot of vocalising but it's recorded sorta weirdly, so it's easy to tune out, though I like it. It's been twelve years since this was recorded and I haven't heard anything about Mr. Boykin so who knows where he is now. It's kinda weird this is on Thrill Jockey - almost like they owed someone a favour or something? I mean, the design/layout of the sleeve is practically shocking compared to the aesthetic they usually push and you think they were putting out Jim Shepard records around the same time as this ... what a funny world we live in. I remember this guy came to town once but it was a solo sax show so I skipped it.
15 July 2009
Art Ensemble of Chicago - 'Phase One' (America)
America Records is actually a French label but the liner notes don't tell us where this was recorded. The title could mean many things - some intergalactic plan to rule the world, or some special instructions for hooking up your speakers in some Brian Eno method - but really I think it's misleading, cause this sounds to me like the beginning of phase TWO for the AE of C. The record opens with Jarman's 'Ohnedaruth', a swirling mass of oceanic cymbals that explodes into full-on, free, loft-style blowing -- and it never lets up. There's solo after solo and the guys sound great but the intensity never lets up and it becomes a bit, I dunno, horizontal? Bowie somehow manages to sound a bit richer than the rest though maybe that's just my bias. The second side is a tribute to Albert Ayler wonderfully titled 'Lebert Aaly', except it makes me think that my sides might be mislabeled. Cause, the rocking reverberations on 'Ohnedaruth' sound more like the ESP-styled Ayler records, almost like these genre-busters are dipping into a genre to show their affection for the then-just-deceased Cleveland gale. 'Lebert Aaly' would actually resemble a Jarman composition more, with it's open cadences, thick chords, and careful pauses. It's definitely more on the modern classical tip and why would you compose a tribute to Ayler in that style? It's not a eulogisin' piece, at least not to these ears. But that doesn't mean I don't think it's beautiful and dynamic and shows (on yet another LP) a different side of these dudes from the 11 sides we've already heard.
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