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Captain Beefheart and the Magic Band's
song - "Ice Cream For Crow"
"That Other Worldly Feeling" mini
[H. Lemke, Bremerstr.31,
33613 Bie...eld, Germany, 05 21...26 74]
UK resident John Jasnoch
is an improvising guitarist/stringed instrument player of no small ability.
He was a participant in Derek Bailey's 1988 'Company Week', and has released
numerous interesting solo and collaborative projects. This wee little
mini-CD contains five pieces which clock-in at about 21 minutes and possess
enough brain and ear candy to rival any full-length CD guitar record I've
heard in recent memory. [From biography] "[Jasnoch]
began playing guitar 1967. After having spent a number of years in various
areas of popular music (primarily “folk”, top 40 and Country & Western),
became involved with improvised music in 1978. Moved to Sheffield in 1979
and joined Sheffield
Free Music Group. Subsequently
joined “new-wave/free-jazz” group Bass
Tone Trap. Then
went on to work extensively with (for example): woodwind player Charlie
Collins in a regular duo, in the Modum
Quartet, the Bone Orchestra and
other ensembles; + Martin Archer in the electro-acoustic duo
the extended sax quartet Hornweb. In 1988, took part in
Derek Bailey’s “Company Week”
at the ICA London. Went on to play many concerts
in UK, mainland Europe and North America both as a soloist and with various
ad hoc ensembles (with [for example] LaDonna Smith, Davey Williams, Paul
Lytton, Louis Moholo, Jeffrey Morgan, Erhard Hirt, Max Eastley).
Current main activities are duo with instrument builder/sound artist Helmut
Lemke (The Long & The Short Of It) and duo with drummer/percussionist
Approach to guitar playing
is a multi-instrumental one (as is common with woodwind players) utilising
a number of types of guitar and guitar variants. No interest in instrument
preparation or alternative tunings – more interested in using conventional
guitar language (as I understand it) in a creative way."
...and lemme tell ya folks,
Jasnoch delivers. Toss those silly 'Frippertronics' and Steve Vai
records and dig into the real deal.
(NOTE: John is working
on a duets record with some of my solo recordings, and I am very eager
to hear what alchemy his sounds affect on them.)
[Accretions CD ALPO20 -
Seven live chunks from three
y2k California performances by DONKEY: Hans Fjellestad: keyboards/electronics;
Damon Holzborn: guitars/electronics; here w/ guests Matt Ingalls: clarinet/violin,
and Marcus B: turntables/electronics.
Tangerine Dream layed the
foundation for improvising bands like Donkey, but by comparison, TD are
merely a watercolor wash alongside the broad texture, squeek, honk, and
BANG! provided here. Great use of restraint, silence, and call-&-response.
Each member of this small unit is given plenty of opportunity to define
himself...so what I'm saying is that the music contains and communicates
internal respect and active listening, rather than the continuous, relentless
'frontline battle' showboating that sometimes ruins collaborative and group
free music. Rarely idiomatic. Very fine disc.
JFK Jr. Royal Airforce
[slutfish records, 327 bedford
ave. #2, brooklyn, NY 11211]
Fifteen years ago, this
group would have been signed by SST and promoted alongside their noisy
LA/Seattle-Rock contigency. Biker field-holler vocals, distorted
and fuzzy electric guitars, thud-bass, psychedelic elements (on the song
"Open Up The Temples of Space", we heard distant hand-percussion and wooden
things, heavily processed instrumental stretches, unique keyboard patching/tweaking...),
and post-Bonzo softball bat drumming. The trumpet is used cleverly
and creatively, long washes and hold-tones beneath and on the horizon.
Either a sustain pedal or a tube-screamer on "11" here ("Sonic Youth"),
and a droniness that recalls SY. There's no getting out of this garage,
or jet hanger, or wherever JFK Jr. Royal Airforce create their Stooge-y
Matt Turner: electric cello
Ernesto Diaz-Infante: guitar/bass/digital
drums/violin/broken CD player/bowed microphone/typing/radio/samples/tape
Dick Metcalf: Kurzweil PC88
what could that mean? Sounds dangerously final...is that what Loreena
Bobbitt did to her abusive husband? Anyhow, this is a fantastic15
piece improvisational journey, and represents (for me) a big step forward
in the ever widening, oil-on-glass-like spread of recording projects involving
Metcalf/Diaz-Infante and others. Matt Turner is a new element in
these ears, but his broad pallette of extended technique on cello - radical
bowing/scraping/percussive sounds/quiet vistas/hands-on noise - take the
M/D-I axis into neat directions. The balance between individual components
is well navigated (this is a studio assemblage of added performances, rather
than a live thang), making "Entromological Etudes" stand with a
clarity and manipulation of individual changes in dynamic sometimes absent
on earlier projects. (Of
course, this is simply my take on things, and I am notorious for my fuse-length
attention span.) What I had to say to
the band about this CD was that it is "the best thing I've heard of theirs
to date." Splatter and pointillism, serene 'chamber music' like stretches,
the creation of unfamiliar (but believable) 'environments', all couched
in a community of red-hot creative interplay. It'll make your brain
The Left Coast Improv Group
[Jimzeen CD 1003 - www.bayimprovisor.com/leftcoast]
Jim Ryan: flutes/kalimba/alto sax/small percussion
Ernesto Diaz-Infante: prepared guitar/violin/small
Bob Marsh: cello/violin/voice
Shoko Hikage: koto
Scott R. Looney: laptop computer/interactive
very in-your-ear and live
sounding...this is a room...lots of spaces between sounds here ('Cliffhanger')...knuckles
crackin', a shakere?, bowed grunts and Ernesto making his guitar sound
like a 3 year old in a toychest...BLAST OFF!...love the melodia (remember
those, in 60's elementary schools?)...quiet again...very controlled dynamics
and pattern-entrainment, which is a skill many lack and its absence
can make for some tedious listening - LSIG
avoid cliché', can gracefully/abruptly segue from butterfly wing
to collapsing building..and you should hear some of what this sounds like
because (as I say to my
students) it will make you smarter.
"FORWARD ENERGY@21 Grand"
[Jimzeen CD 1004 - www.bayimprovisor.com/leftcoast]
Another Jim Ryan (sax/flute/word)
involvement - here, with drummer Donald Robinson, Alicia Mangan on tenor
sax, and Damon Smith on arco bass. Forward Energy has existed as
a performing entity for four years. The spoken word 'Beat-ness' present
on this gig recording, the room ambiance, and the careful relative levels
of the instruments throughout set this Jimzeen release apart from the one
reviewed above. The double sax thang, tap-tap-tap-tap-tap-BAM! explosive
and propulsive drumming, the sonic foundation and horizon Smith's bass
creates, and pianist Looney functioning, it seems to me, like the group's
own Carl Stalling sound effects-guy, when he's not doing more accessible
or textural things. Man, this Donald Robinson can DRUM, and I'm talking
about equal amounts perfectly controlled rudiments, and action painting,
Charles K. Noyes-style SPLAT! and KONK. Ryan can make his instruments
do whatever his Muse suggests, and with individuality...(this section reminds
me of the classic 'Oregon: Live -w- Elvin Jones' LP Vanguard put out around
1970, which I mean as high praise).
This, too, will make you
SPUDSUCKERS!: A Tribute to DEVO
Alright, I'll admit it...I've
got a track on this one (you find it). Anyhow...how about dem DEVO?
I was a wee college lad when 'Are We Not Men?' came out, and the Brian
Eno production drew me right in. I liked about half of the LP intensely,
the 2nd LP even more, and then things fell into a cycle of diminishing
returns after that. Of course, other folks thought they just got
better and better, so call me a freak. My interest in The Residents
followed the same avenue. Anyhow, this is a neat compilation, and
it's likely to have more appeal for younger people than it will for those
of us who were quirkball teens when the stuff came out. A bunch of friends
and conspirators have tracks here, and all things being totally unfair,
I'm going to mention them: THINGS OUTSIDE THE SKIN [Goin' Under], CLANG
QUARTET [Swelling Itching Brain], SNAKES AND LADDERS [Gut Feeling], YONI
PIN [One Dumb Thing], FUNKMEISTER G [Timeout For Fun], and GENTLEMANIAC
[Girl You Want] all pull off unique takes on songs you've heard (if you
think you haven't heard Devo, you're wrong...it's like that little curly-girl
song on the Pepsi commercial - there's no escaping it...it's everywhere).
There's a sort of Techno predominance here, which makes the collection
an interesting 'period' reflection on the Past. Sounds like a lot
of the contributors have those nice Roland digital 8-tracks. Did
I mention that the other bands stack some hot tracks as well? Yes.
"Far Further" EP
Well, for starters, this
disc opens with a cover of Captain Beefheart and the Magic Band's 'Witch
Doctor Life'; the Fourfathers' original tunes have Beefheart-y names: 'the
dead fish', 'triangle flat face', 'bloody old bat', and 'old sod sam sits
in old joe's chair'; these tunes sound HONORABLY similar to mid-late period
Magic Band executions; and the band members even have crazy pseudonyms
a la' Don VanVleit: Dennis Martian (dead-on, gripping vocals), Fast Paul
Table (guitar), Benjamin Horrendous (bass), Zark Starfish (drums), and
some sax on one piece by Vital Will. Ever since 'Doc at the Radar
Station', and 'TMR' showing up on RS's "100 Most Influential Albums", comparisons
to the Magic Band Sound have been plentiful, albeit often (B-52's, PiL)
far fetched. Some groups of adventurous players who actually plumbed
the depths of Beefheart's recorded output have succeeded at admirably
replicating something of the Beefheart-sound. This has happened IMHO
only when folks deliberately and tenaciously dedicated themselves to accomplishing
the creation of something akin to the elusive "Beefheart-sound".
I've actively sought Beefheart-y sounding music since 1983, and with the
exception of Name, Crazy Backwards Alphabet, Kradjursanstaldten, Zoogz
Rift and the Shitheads, Tom Waits, and very few others, no one's gotten
close. The Fourfathers deserve a notch on the same gunstock as the
above mentioned sharpshooters. They're 'doing Beefheart' on purpose,
and doing it with aplomb.
They'll make you smarter.
"Beta 14 ok"
Number One: Anything Nick
Didkovsky touches turns into music.
Number Two: Doctor Nerve
are and have been the smartest Rock band in America for almost 20 years.
Number Three: Nothing
Cuneiform puts out will make you dumber.
Number Four: Greg Anderson
(el.bs.), Leo Ciesa (dms), Nick Didkovsky (el.gtr./vox/claps), Dave Douglas
(tmpt/baritone thing/FX), Yves Duboin (sop.sax.), Rob Henke (tmpt/vox),
Michael Lytle (bs&contrabs clarinet/vox), and Marc Wagnon (vibes/piano
Number Five: [from liner
notes] "Beta 14 brings to completion three years of work. A fair share
of this time was spent exploring form, particularly musical form, and the
role of its composer in its determination. Of great utility was the composer
program I wrote during this period, entitled 'DrNerve.hmsl'. This program
generated compositions orchestrated specifically for Doctor Nerve. It repeatedly
dealt me severe aesthetic shocks and blows, which of course is a very good
thing. It also blurred the boundaries around this composer, as it became
increasingly difficult to identify just who or what composed 'NerveWare
1,2,and 3'. On the far end of this blurred boundary lies 'Fast Fourier
Fugue', a computer generated vibraphone piece which composes itself during
the act of performance, each result being unique and outside of my control.
Finally, there is the listener as active composer. That's what the 44 Nerve
Events are for. Torture your CD player with them." - Nick D.
I loved and wrote about
the 1st D.N. vinyl LP when it came out, and I still like 'em. This collection
rocks ass, tickles my buzz-bone, and has Zorn-like stumbles and lunges.
As you may have noticed
by now, I like to write about things I've seen and heard happen. James
O'Brien appeared on Worcester, Massachusetts coffeehouse and open-mic stages
around 1996. A short, intense looking fuzzy-headed young feller crouching
behind a big dreadnought acoustic, staring across the room and sizing things
up, before launching into one of his naive folk-ragas - passionate, loud,
and aggressive acoustic music...no flash, all power; no tricky riffage,
all power chord; no baloney slices in sight. And a big voice for
such a little man...quite Tim Buckley-ish; fluid and male, much improvisation
in his manipulation of dynamic, pause, and inflection, fountaining spiritually-probing
and psyche-baring lyric. Cool song titles too: Low Decay, Elvis Dodges,
America, Softer Than Static, Dying At The Big Top, Courtney Killed Curt,
Jupiter Falling, Spirit Days. I don't recall if James and I ever played
together, but listening to this '98 disc makes me wish we had. Minor treadmills
and diminished trampolines. Firmly 'of his generation', and eloquently
refracting its zeitgeist.
John Janoch & Helmut Lemke
"the Long & the Short of it"
[Helmut Lemke / Gellershagenhof
8 / D-33613 Bielefeld / Germany]
gtr/lap steel gtr/mandolin/tenor banjo
It's noisy, scratchy, splattered
and spiky...got strange hissy lanscapes, sounding like gathered ambient
recordings layered or procssed...Janoch's guitar becomes decidedly cello-like...rain/automobiles
passing/birds but not birds overhead...something rustling in the closet,
and Mom's out cold on the couch...insect digestion...Swamp Thing in the
shower with Wonder Woman...post-Magic Band guitarist guitar meditations
and clustering...farts and burps and aural-peristalsis...HL issuing slaughterhouse
screech and penitentiary wails through means only known to attendees of
the gig-proper...like cabbage smell from the neighbors' house, this assails
your senses...the human voice blats and there's a strange 'countrified
and chicken-fried' quality to Janoch's guitars. Another gig I, regretfully,
Jim Konens is visionEar,
is half of The Detroit Improvisational Duo -w- Rotcod Zzaj, and is a unique
'fusioneer' when it come to somehow melding John McLaughlin, Kraftwerk,
Rap, electronica, techno, and pure streaming synth improvisation into one
big thing that neither molests nor whores the comparatives. I could do
without these drums, but people have said that about MY stuff too.
To each their own. Konens kicks booty on the electric guitar, displaying
virtuosity in several areas. Looping voices, hypnotic organ, large environments,
NiN cum Glenn Phillips sounding rockers, and...well, there ya go.
[selections from] "Letters To Aslan"
If The Beatles, Mike
Nesmith, Elvis Costello,Jim Croce, and Jack Dejohnette got together to
cut a Christian Pop EP. Yup, even heathens might like it.
Here, the ridiculously multi-instrumental
Zolli performs all voices (great harmonies thoughout), all manner of guitar,
bass, keyboards, recorders, drums and percussion. This guy is a super
recording engineer and prickly producer as well. You ever heard of
that dude 'Jack of All Trades'. Pete's him.
It'll make your soul smarter.
(I hope the above
URL is right, no contact info anywhere in sight) Another, the 2nd,
record from Greensboro's East October; here supported on several tracks
by members of Automatic Music, an improvising rock band in which E.O. plays.
Some techno drumm-y things carrying the big-beat dance tracks, some ambient
horizons with indistinct things in the foreground, strange swampy maelstroms
and radical treatments of existing source sounds...not too many referents
leap to mind, which can be a good thing...kinda like the first time you
watched 'Eraserhead'...if it were a CD to listen to instead.
John Janoch & Rob Dainton
"having similar or related structure"
JJ: electric guitar/12 string
electric soprano guitar/tenor banjo
Recorded live between July
and September 1998, this documents some particularly interesting and singular
improvisation. Janoch foregoes 'preparations' (alligator clips/drumsticks/pen
springs/etc) and goes straight for the throat using a plethora of unconventional
stringed instruments, dangerous hands, and a very dextrous Muse.
Dainton inserts his splat, whack, thump and tumble sounds, many of which
I cannot construe a source for...WHAT WAS THAT? RD is equally engaging
on cornet, which I believe must somehow defy gravity and hover before
his lips, given how immediately he seems able to shift to it from percussing.
As a guitarist, one of my own big epiphanies was hearing the Guitar
Solos LP's Fred Frith put out years ago. Janoch would have been
right at home with the cool cats on those 3 records, and possesses an intensity
and pointillistic grandeur that noisier and angrier guitarists lack. Wonderful
hand-painted cover insert. This will most certainly make you smarter.
[CONTACT: Bob DeBorculo,
1111 walwood drive, NE, Grand Tapids, MI, 49505USA
Listen ye to the bawdy
tale of the O-TONES, 60's scholarship signature
sound simple symbolic shape-laden
lyric and wit...DeBorculoesque burstz
'n' blatz an' guitar splats
and drum whackz and I tho't I wuz hearing
some sorta Soft Machine
outtake at one point, then Hermins Hermits then
Weather Report demoz...SYBIL,
or WHUT?!?! Very fun and varied
collection of quirk-o Pop/Jazz/Razzamataz.
-Osgood Phlegm, esq.
SONGS: bloody old bat, a
forest smoking, fantasy nightmare dentist chair pornographic dinosaur orgasm,
anti santa claus, starving black babies, the dead fish, green alpine parrot,
depression, the wooden mutant devil goat from hell, triangle flat face,
the voodoo queen, the fatted calf
Here, we get a few more
players with groovy pseudonyms - Wild Billy Paddle (guitars), Bill Ding
(more drums), Gillian Thrilling (voice, clarinet, lyrics, tin whistle)
- fleshing out The Fourfathers' sound. Acid-Swamp,
room temperature lard-smell, nothing much to stare at except this fly...fuzzy
memories of dead pets...fear
+ loathing = Now...guh-rooovy Daddi-o! pass me on'a dem herbal
Jazz cigarettes, wont'cha?...'Starving Black Babies' has excellent mouth
drums a la' Alonzo "Blind Pineapple" Phillips...very flu-tastic here..."Hey!
Kerouak, throw me a cold one!"
incorporating Rock, novelty, and symphonic instrumentation to spacious
and glorious effect. double bass, cornet, oboe, cello, trumpet, alto horn,
accordion, clarinet, toy piano, pennywhistle, 1/4-tone xylophone, tuba,
baritone, tenor sax, drumset/percussion, soprano sax, keys, vibes, flute,
guitar, shakuhachi. North Carolina may be a backwards, awe-uninspiring
sac of hypocrisy and self-hate; but it sure do shovel a lotta of coal
into the aesthetic furnace! Ian Davis, who co-'leads' this massive
soundsource has gathered a cast of over 20 very talented players/noisemakers
to co-visualize and perform these 2 (1st one is long [7'56"], the 2nd is
VERY long [35'10"]) fascinating pieces. 'LAMENT' - inhale deeply...feel
your ribs expand as you fill them with fresh air...bring your instrument
to your lips - and gently and innocently insert yourself into the room..."
might read a graphic score for this piece. 'EXPLORING THE METAL SPHERE'
is an evocative satellite ride through noise-nebulae and past orbital grok-galaxies...the
players are surface inspection scientists mapping and cataloging features
and defects...."cartographic survey" music..heinously long horn exhalations
(circular breathing?), guitar ornamented with green felt, animal shaped
mittens...some of this sounds like the 'pretty' static that can be found
on shortwave radio on cold, clear nights... "062099"
W.O.O. Revelator/Ernesto Diaz-Infante/Pat
"the first time" CD
Hello IMAGERY and VARIATION
IN TEXTURE! I'm listening to the third track from this happy
collision between W.O.O.Revelator
and the Ernesto Diaz-Infante/Pat Harman Duo.
Bonnie Kane (sax-flute-electronics-etc)
/Ray Sage (drums-percussion) of W.O.O. bacame W.O.O.Revelator with the
addition of guitarist Chris Forsyth in '99. Ernesto and Pat have previously
worked together, and Ernesto and Chris have released the very fine "Wires
and Wooden Boxes" CD together. A brief, though fruitful live encounter
between these creative forces from opposite coasts.
shifts, as I think of them, as these five actively listen to, challenge,
respond to, and color one another's tweets, squeaks, beats, splatter, gentle
inferences and confident bellows...I'm loving this stretch - 7 minutes
in to "Urban Slip", one of the two whole-ensemble pieces on The First
Time. Most of the possible juxtapositions of the five players
are explored here.
Did I mention that this
is LIVE? Well-recorded, too.
reviews were originally published in Dick
Metcalf's fantastic Improvijazzation
X "words and positions...to live by"
CD at http:www.MP3.com/elvisx) in this appearance-driven world, if ELVIS
X were to judged by appearances only, they'd have a following. smoke-mouthedTucker
(vox), bare-chested Muir (guitar), groovy candle-wielding Tuttle, and Scotty
Irving in a Residents t-shirt clutching an electrified crutch...big eye-candy.
Listening through the tunes, I'm hearing cheap keyboard sounds layered
over readings from the Scripture...sung spoken-word...distant cymbals...apocalyptic
imagery....(next tune) skeleton-funk! fat-ass bass mating with strange
and buzzing guitars (great effects usage!)...I HEAR A Space Drum
THERE SOMEWHERE!!!!...the stereo vocal-processing is SPIFF...(NEXT TUNE)
YOU figure out the time-signatures at the beginning of this, I GET PAID
BY THE HOUR, bustah!... brilliant drumming, and listen to how the
musicians slide in and out and in and out of powerful entertainment and
groove damage!...NICE...ELVIS X effectively build environments of freight-train
'lectronic sounds and guitar-thunder...LOTS OF HUMOR in here too...I keep
thinking I've just heard a cartoon theme, then it's gone...this is intelligent
and Dadaistic modern rock. BUY IT!
Elvis X disbanded during around 8/2001. :(
CD at http://www.silbermedia.com/clangquartet)
Irving is most easily defined as a 'percussionist' by those who have seen/heard
LIVE. But, his recordings, as "Clang Quartet" [his solo performance
vehicle] are another thing entirely. The studio becomes an instrument
on this, CQ's second solo CD release this year (the first is an unedited
live concert recording entitled CQ:4-15-00 on InstrumenTales Records
$10 ppd). Irving, who has been featured in Modern Drummer) employs
[from liner notes] "electrified handsaw/stapler/water bottle-combo, used
with an E-Bow and drumstick; electric guitar without strings; hockey mask
covered with finger cymbals and bells ("shake face"); junk metal percussion;
cicadas; sounds made under a bridge; broken cymbal that is beaten/sawed/dropped/...;
"family tapes"; dead tree used as a drum, and a creek". Throughout, Irving
expresses opinions regarding
and education. This stuff ROCKS like Caroliner Rainbow used to rock!
Demain - a Silber Records Sampler
CD at http://www.silbermedia.com )
new artists - domestic and international - represented on this album of
looping, drone-piling, sampled and modified ambiences, minimalism, and
tone-wrestling. They (all) are: Origami Arktika, Peter Aldrich, small
life form, My Glass Beside Yours, Remora, Clang Quartet, burMonter, Vlor,
fade, and Still. Some of the titles are mysterious, evocative,
and *prep* yer head... "Angel Stalk", "Thirteen Layers of Heaven", "each
day is like winter". This genre/these genres of listening music are
the bastard offspring of Lamonte Young, Terry Riley, Tangerine Dream, Eno,
and Phil Glass. Patience is required, and rewarded. I reviewed scads
of sound-art/soundscape music while writing for Option and Sound Choice
in the 80's. Then, the leaders were Mnemonists, Al Margolis, Jeff
Grienke, RRR's output, some things on Cuneiform, and thier ilk. Silber
Media is [re-]promulgating a new way of listening; one which dissolves
perseverative thought and opens new gates. [from Jon DeRosa's liner
notes] "...a culmination of nomadic sound architects and sonic refugees
from around the world...the soundtrack for confusion, frustration, triumph,
and despair." Great for your mind.
/ Clang Quartet Cemented in Stone
CD at http://www.silbermedia.com/remora )
is Brain John Mitchell. He approaches guitar from a spacious, vast-sounding
a player, I am so impressed with how he takes relatively simple signal-sources
and transforms them into giants. Layers of timbrally-modified guitar
are stacked and layered in long vistas - buzzing and sweeping, giving off
heat and reflection, simple, melancholy, organic... Planted
on Remora's *back* are the sounds, noises, and thrum of Scotty Irving.
[I was there, at a Rockingham County Recyclers'
when he unveiled "the electric stapler -w- E-Bow"!!] Remora/Clang
Quartet do not do
per se. They paint with tone, rhythm, and timbre. Beautiful in a
like photographs and roadkill; elections and tele-evangelism. BUY SILBER
MEDIA PRODUCT and grow more brain in yer haid!!
review originally published on Don Campau's
Ahead You Review It" webpage.
Free Spirit Suites
CD Zzaj Productions (available through http://www.cdstreet.com/)
On Whirling Dervish got
The Ventures pulling teeth from the jaw of Stanley Turrentine...
falling through flesh tubes
and treading dream-corridors with Dialogue for Drifters...when it's
processed well, the rote percussion programs possess a robotic grin and
which insert moments of
"meet George Jetson!" into the landscapes these boys conjure. I go
pretty far back with both of these jokers and Mark still wrests some of
the most obtuse CHUNKS and skanky MOANS from his axe. Zzaj
(Dick Metcalf) is...well, "Zzaj". I've had the benefit of hearing
scads of his work, and have read reviews of lots of what I haven't myself
heard... Zzaj's keyboards are attacked with a childlike wonder, punky confidence,
and he is generally operating within knowable parameters (slo-blooze, lounge-jazz,
free-form splatter, etc) regardless of with whom he collaborates.
One listen, and you go, "There's a whole lotta Dick in there."