Music: New Releases
MUSIC: New Releases JUNE 1997-- AGENDA--9
by William Shea
Tuatara Breaking The Ethers Epic
Tuatara is a four-piece all-instrumental band comprísed of Barrett Martin (from Screaming Trees) on drums and percussion; Justin Harwood (Luna) on upright bass, guitar, piano, and vibes; Peter Buck (REM), guitar, dulcimer, mandolin; and Skerik (of Critter Buggin and other jazz groups), saxophones, steel drums, and vibes, with performances by Mike McCready (Pearl Jam) and Steve Berlin (Los Lobos). This debut recording is very impressive. Using mainly acoustic and percussive instruments, their music is at times jazzy, eastern, other-worldly, commercial and inaccessible, but it is always interesting.
Because this ensemble resorts to primarily acoustic and percussive instruments (even the saxophone, flutes, guitars are played more staccato than legato), it's hard to find any rock elements in their music. The feel from the instrumental interplay makes one want to listen to the many layers of musical textures rather than to particípate in - dance, sing, or hop around - these often brilliant soundscapes . This is great dreamy stuff.
Most of the album's material is written by Martin, Harwood, and Skerik. The album opens with the title tune "Breaking the Ethers Serengeti." Medium in tempo, the combination of Tibetan horns, steel drums, Tablas, didjeridu, gongs and upright bass, coupled with a wonderful production mix, this tune Iets one literally imagine the hot siroccos blowing across the plains of south central África. But just as the breezy f eel leads the listener to deeper parts of the desert, a subdued snare drum motif sneaks into the mix, followed by a slow yet dominant sax riff, then a powerful conga line. The result is a beautiful composite of Western and African musical expression: not quite one but not the other either.
On "Dark State of Mind," the vibes sax juxtaposition sounds as though it's straight out of the Henry Mancini songbook ("Peter Gunn," "Theme From Pink Panther"):familiaryetexotic, reminiscent yet novel, cool yet diffident. In any event, its a very compelling musical approach.
"The Desert Sky," combining the sitar, steel drum, udu, and dulcimer, is one of the strongest cuts. Again, slow intern po.the musical excitement comes from the strength of the musicianship, the complexity of the instrumental sonorities and percussive complexities. At first one is given to just sit and listen, but as the tune moves, the incessant pressure forces one to rock faster and faster, to dream deeper and deeper until the tune's final whoosh. It's subtle music but powerfully sophisticated as well.
The cosmopolitan scope of this project is no better heard than on "Goodnight La Habana." Arabian/Spanish in tone, the power and drive of the undercurrents are very jazzy. Barrett Martin's percussion work is extraordinary , at one moment propelling us along with a rock-steady snare beat, at others using the timbales, marimbas, and congas to work contrapuntal miracles. The complexities of this work make one want to listen to t over and over again.
This recording has much to offer: for straight-ahead jazz catch "Burning Keys"; for a Middle Eastern aesthetic play "Eastern Star"; fora subdued rock influence listen to "The Getaway." If you're looking for something aurally new and exciting, pick up this extraordinary recording today.
Alison Krauss & Union Station So Long So Wrong Rounder Reviewing an Alison Krauss & Union Station CD is like claiming apple pie is better than blueberry pie. Given that they both use the same ingredients other than a variation in the f Hing, the discussion becomes moot even before it begins.
AK & US's latest recording - So Long So Wrong - continúes to present the new "progressive bluegrass" that has emerged in American music over the last decade. The instrumentation is that of a standard bluegrass outfit: acoustic guitar, upright bass, mandolín, banjo, and fiddle, but the material these new "progressives" choose to embellish often makes their work exciting and quite pleasurable to hear. Although this recording merely continues a strong line of recordings made by Krauss et al. over the past years, there are a couple of things on this recording that keep it listenable.
First Krauss has decided to let her bandmates take the lead vocals on a couple of songs. Maybe it's because she feels so strong and secure in her career position that she can relinquish a little control without feeling out of control, or maybe she rightfully sees herself as an ensemble player (her fiddle work is wonderfully strong throughout this recording, clearly indicative of her winning mastery). In either case the choice to have this recording be an AK & Union Station, not just another AK recording, is a good one.
Mandolín player Adam Steffey's baritone is strong and clear on the catchy "No Place to Hide." Guitarist Dan Tyminski's tenor blends well with Krauss' soprano (and her supple fiddle work) on the clever "The Road Is a Lover," and sounds fine on the traditional Til Remember You, Love, In My Prayers." The duet between Barry Bales and Krauss on "Find My Way Back To My Heart" is traditional yet nice.
If one wants to hear the real strength of this ensemble and "progressive bluegrass" in general, no place is better than on their rendition of the classic "Little Liza Jane." While the traditional interplay between acoustic instruments and the boom-chick rhythm of the mandolin over fiddle-pickin' is there, the power and sensitivities of this ensemble are completely new and contemporary. It's like these musicians have learned their chops not so much from the Blue Hills of Kentucky but instead have picked them up from recordings and the stage. They've certainly picked up on the new dynamism found in "New Country" and the music of Vince Gill and others, plus they've learned something from the extended interplay found in ensembles like Phish and Bela Fleck. AK & US's music is American music yet not tied to the traditions of Bill Monroe but instead to the improvisori of Benny Goodman, Bob Wills and rockabilly in general. Their music is reminiscent, but it has never been quite heard before.
Although there isn't a lot new on this recording, it's still a sweet and scrumptious piece of apple pie.
Sloan One Chord to Another The Enclave
l've said it in the past: There is nothing better than good pop music. The Halifax, Nova Scotia-based group, Sloan, who unfortunately has been missing from action for the past few years, is back. And they play great pop music.
A tight quartet - Jay Ferguson, guitars; Chris Murphy, bass; Patrick Pentland, guitar; and Andrew Scott, drums - at times they are reminiscent of the mid-career Beatles, at other times they are a dead ringer for the Beach Boys (replete with soaring harmonies). Their tunes are short, hook-laden, energized, and catchy, just like the late sixties fun stuff of the Hollies, Zombies, and T-Rex.
For one reason or another, there is not a real bad cut on this short CD. For instance, the psychedelic cacophony of "Anyone Who's Anyone" saves a relatively mundane lyric line. The opening Credence Clearwater Revival-guitar line pushes "The Lines You Amend" into the acceptable range. The John Lennon-esque nasal vocals found on "Autobiography" add just enough to make it pass for a pop classic. And the brilliant harmonies on "Junior Panthers" make it a pop classic! "G Turns to D" is great power pop, for any reason.
Sloan just passed through Detroit in late May. If they come close by again, catch 'em. In the meantime pick up this great fun recording and bop till you drop!