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CD Reviews

Kimock, Vega, Hertz and White
LIVE IN CONCERT

by Charlie Dirksen

Throughout 1998 fans of improvisational rock raved about KVHW, and hopefully you've heard the good news already. A band this great needed a live CD and needed it NOW, despite the band's infancy. When would the live CD be released?! What glorious jams would it contain? Would it attract even more loyal fans, hell-bent on hearing if not seeing every show?

On December 31, 1998, KVHW released its first live CD. Everyone who craves improv that sounds like melodious, composed music is likely to enjoy this disc. It features the magical, soulful, and captivating sounds of Steve Kimock's guitars, Bobby Vega's bass, Alan Hertz's drums, and Ray White's rhythm guitar and vocals.

Kimock and Vega have a long history playing with ZERO, and their work in KVHW, though not always as psychedelic as their prior efforts together, is gripping in its technical magnificence. You might remember Ray White from many of Frank Zappa's groups. Since Ray impressed the notoriously perfectionistic FZ with his guitar and vocals years ago, he's likely to energize you as well. Alan Hertz is a young, spectacularly talented drummer, and is equally sure to inspire.

The liner notes state that the disc's six "simple" recordings were made using vintage mics at two gigs played a month apart in Sebastopol, California. Though you won't hear any fully digital multi-track soundboard mixes, the sound quality of these tracks is excellent DAUD quality (small rooms, great mics). KVHW's music is some of the finest improvisational rock the world has ever heard. This band will likely make you reconsider your musical allegiances, and may even realign your Being to soar in tune with the sounds created when the universe began.

The first track, "Five B-4 Funk," recorded at the Sebastopol Community Center last October, is an instrumental ten minute funkalicious journey in five time. Kimock rips licks off mellifluously as the entire band rages furiously around him. Though this version isn't as long and fierce as the one from Cafe Tomo on December 11, or as bewilderingly Bacchanalian as the awesome October Chester's version, it is nevertheless likely to thoroughly twist your hips AND your mind.

"Spring Water," the next cut on the disc, has apparently become KVHW's anthem. Played at nearly every show, it continues -- since its first performance last April -- to turn people on to the band's sound, despite what some have called weak lyrics. Every version is stunning in its uniqueness, and a few have stretched to nearly a half-hour in length. Ray White's tenor vocals complement this ten minute 9/28 Powerhouse version well, and Kimock shreds his guitar so mightly that a string or two eventually twang out of tune.

The third track, "Hillbillies," also known as "Hillbillies on PCP," is -- as the title suggests -- rowdy and dangerous. The tune features a thrilling, terrifying opening segment, always with sizzling fret-work from Kimock. Some have likened the gentle, mellifluous middle section of this instrumental to the jam segment of "Franklin's Tower" by the Grateful Dead. In this ten minute 9/28 Powerhouse version, Bobby Vega and Alan Hertz brilliantly rage on bass and drums. The concluding section returns to the same intense theme of the opening, yet with even greater passion and fearlessness.

"Nine/Ring Around the Moon" begins with a stimulating composed section in nine time. The middle segment is a bluesy, wistful, spiritual groove, featuring improvised, labyrinthine riffs of Kimockian genius, and Ray White's gorgeous vocals. They provide a relaxing, introspective recess not only between this song's two ripping segments in nine, but also within the context of the entire CD, which is, overall, quite a spirited ride.

"Why Can't We All Just Samba?" is an enchanting, harmonious, easily danceable instrumental that often contains intricate, spidery soloing on dobro from Kimock in the opening measures. This festive version, performed for over ten minutes last October, is no different. The mics captured every nuance of the instruments, and, as a result, your auricular nerves are likely to relish Samba's serene, sonorous sounds.

The sixth and final track, "Point of No Return," is a 22 minute improvisational odyssey that must be experienced to be fully understood. You are likely to give thanks to GOD ALMIGHTY that this jam is on CD, and is yours for easy replaying. To think that KVHW pulled this off (and many other jams like it) in the first year of its existence is beyond comprehension. Many bands, in particular the Grateful Dead and Phish, have performed awe-inspiring Masterpieces of Improvisational Rock over the years. But they've all had the added dimension of a keyboardist, and often more than four players. All of this praise for this version of "PoNR" is not to suggest that there aren't any sour notes in it. There are several after Kimock (yet again) shreds his guitar out of tune. But this 22 minute adventure is a revolutionary, tempestuous beauty.

A feast for the ears, the mind, and the soul, KVHW's first live CD is a must for anyone who takes improvisational rock music seriously. Listen carefully, and -- even if you're not a musician -- you will probably learn something. You will be able to purchase the CD soon at KVHW.Com. You may never hear a more musically entertaining live CD from an improvisational rock quartet, unless KVHW blesses us in the future with another live disc that bests this one.

Rumor has it that KVHW is in the studio this month, preparing a release for 1999. Let's hope that it captures the majesty of KVHW's power at least as well as this disc does.

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The Jazz Mandolin Project-"Tour De Flux" by Lee Schiller

Having finished a small eastern U.S. tour in late January and February 1998 with new members Chris Dahlgren and Jon Fishman, Jazz Mandolin Project founder Jamie Masefield felt he should catch the lightning while it was still fresh. So, with that thinking in mind, he booked four days of studio time in his home state of Vermont almost immediately after their appropriately named "Tour De Flux" to capture the feeling of the playful spontaneity of the past month's concerts. The result of these sessions is this release which serves as a document to those fortunate enough to see the trio perform live as well as a record of what the group was up to for those who weren't there.

Although this release is not as initially accessible and catchy as the JMP's eponymous debut, the improved production and energy level more than compensates for this. The improvisational jams that were toned down on their debut release now stretch out for seven or eight minutes sans overdubbing, giving the recording an organic, live feel reminiscent of Phish, Fishman's "other band." With the influence of the new players, Masefield's classical sensibilities have taken a backseat to this approach. But, ultimately, the sound on "Tour De Flux" more accurately captures the live JMP experience than their previous release.

Masefield, an extremely gifted mandolin player, is no surprise here. He plays with a combination of intensity and eloquence that belie the passion he has for the compositions and experience of musicmaking. Dahlgren's acoustic double bass comes out deep, resonant, and pronounced as opposed to Stacey Starkweather's electric bass work of the debut; his instrument is displayed louder in the mix so as to bring the point/counterpoint dialogue with Masefield's mandolin to the forefront. Examples of this give and take are found on the compositions "Good And Plenty" and "Chapeau." In addition, Dahlgren's composition skills provide many of the highlights on these release, most notably with the aforementioned "Good And Plenty" and "Boodha", which offer a respite from the Masefield authored works in feel and tempo. Perhaps Dahlgren's Knitting Factory background has something to do with this. "Boodha" is definitely a departure, combining as it does elements of spirituals with a jazz mentality. Dahlgren's bowed introduction on this tune is something longtime JMP listeners would be shocked to hear unless they caught the concerts of the past year.

Fishman provides a harder edge than his predecessor in the JMP, Gabe Jarrett, mostly due to his using a more varied and larger drum kit. But nevertheless, his drum and percussion work may come as a surprise to those familiar only with his work on Phish where he often plays a secondary role. Given the space he rarely receives, Fishman exhibits a speedy but deft knowledge of rolls, fills, and syncopation; keeping the rhythmic end interesting and steady, especially on "Barber's Hint," a homage to Masefield's mentor Ernie Stires with its Ellingtonesque elements.

It is obvious that these three musicians thoroughly enjoyed their work together as they have once again embarked on a tour this winter to support this release. Obviously, this joy of playing together also permeates this recording. Pick up this release and find out.

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Wise Monkey Orchestra-Make Believe
review by Paul L. "Pro" Pearson, Ph.D.

San Diego, California is a place I've personally never visited. When I do finally go there, I sure hope that Wise Monkey Orchestra (link to www.wisemonkey.com) is back from their latest tour. According to the local entertainment rag, SLAMM (link to http://www.slammsd.com/back_issues/96_120298/index.html) San Diego is a lesser place without them. From listening to their fourth and latest CD, "Make Believe," I'm sure it's true.

Originally formed in Tempe, AZ in 1990, the band migrated west in 1994, surely leaving a gaping hole in the desert's soul. This seven-piece family is a collection of fine musicians and their instruments working toward a common goal-one of musical domination over life's tribulations. Calling their sound "Kinetic Soul", they touch lands everywhere between '60's r&B, the Caribbean, Chicago and the funkier side of Phishadelia. Featuring sultry Alley on vocals, WMO succeeds in their travels by mixing a whole lotta funky rhythm with some nice horn work and an occasional message. The rest of the orchestra includes Tim Pacheco-congas, vocals and trumpet, Chad Stewart-bass, Scott Homan-guitar, Andy Geib-trombone and flute, Sean Hart-drums and keyboards, and Ed Fletcher-drums, percussion and keyboards.

To set the mood for the disc, "The Truth" put me on the 'good foot' from note one, setting the funky button at a solid 7.5 for the duration with only a few breaks to get soulful over the 11 tracks. Alley's lyrics on "Grass Skirt" are, I think, prophetic for this band-"All this time/I've been working/To get somewhere/Now I know I can't be stoppin'/Cuz I'm almost there." Written by Hart, "Smog" explores the spacier side of automobiles orbiting slowly around the planet, and is the trippiest offering on the disc. "Jerry's Tune," features Demink on guitar and the horns in an up-tempo jazzy instrumental jam. "Faith," penned by Pacheco, subtly challenges the thought process of the masses. This is a song that would find widespread commercial airplay in a just world. But, "Your time will come you'll see/Keep waiting patiently."

"All Day Long" is an extra funky, bluesy jam with some prominent trombone work and a nice use of dynamic swells. "The Other Side" employs a trombone, trumpet and sax harmony round and funk guitar to explore the other side of relationships and personalities. "Make Believe," the title track, is a slower lament with a mid-tempo break featuring a muted trumpet solo. "Blues for Jordy" is another wonderful mid-tempo instrumental jam that allows everyone a turn in the spotlight. "Unreal Appeal" ends the disc on the upbeat tip it started with and features a nice breakdown between verses before bringing it up even funkier.

All in all, this is a solid work and fun disc to listen to. There are occasional thin spots in the production, however these are overcome by the energy that this band delivers. My advice is to buy this disc from the Homegrown Music Network and try to catch the band at one of their 200+ tourdates this year. I'm sure their live show is a sweaty, booty-shaking bomb, and the jams that are teased on this disc promise that the band could stretch out and get crazy. Wise Monkey Orchestra has put forth a nice collection here that deserves a listen from an audience that is being spoon-fed pablum by commercial radio.

Ah hell, let's just share these cats with San Diego and enjoy the groove. Almost there, indeed.

Comments?
pro@strangepleasures.com

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Stir Fried Live: Electrafried featuring Vassar Clements
By Chip Schramm

What do you get when you combine a fiery singer-songwriter with roots in the San Francisco bay area with two renowned veterans on Fiddle and Steel Guitar? Wait, don't answer yet. Throw in an original, improvisational lead guitarist and a solid rhythm section. Now add a soulfully moving female vocalist and a couple of guys to fire it up on trumpet and sax. A one night jam session, perhaps? A music festival waiting to happen?

Stir Fried is all of that and a sack of chips. Needless to say, a lineup featuring the likes of John Markowski (songwriter, vocals/guitar), Buddy Cage from New Riders of the Purple Sage on Pedal Steel, and the legendary bluegrass fiddle master Vassar Clements is going to create some original, jam-based music. What really makes Stir Fried fun is the versatility of the whole ensemble - all ten of them. Their new CD release Electrafried documents their live performances well. The album was the product of a two-night stand at the Images Club in Pearl River, N.Y. on October 4th and 5th of 1996. Electrafried contains four tracks that were written by Markowski and band as well as several carefully selected covers that match the spontaneous, flowing style of the group. It is impressive how the band can skip from one genre of music to another as seamlessly as they do. They manage to play some New Orleans jive, groovy Memphis funk, a Rolling Stones cover, and even the longtime Grateful Dead-fan favorite "Turn On Your Lovelight" all on one live CD.

Running Bear, the house PA, beckons the crowd to "Fire up those woks," and sure enough, the band stirs it up with "Summer," a Markowski orignal. Joanne Lediger provides airy, day-dreamish vocals to help set up the festive feel for the night. As an additional touch, the band chose to include the first 3 songs on track 1 as a medley, with the Funky Meter's "Hey Pocky Way" sandwiched in between another Markowski tune, "Jones." Listening to the first half of the album is like being at the show since you can't jump tracks on the CD without missing the last three segments of the jam. The texture of the initial 25 minutes of Electrafried is rich with interplay first between the Jan London and Clements. As the segue progresses, the fiddle sinks underneath the jam a bit and Don and Bill Harris step to the forefront with powerful horn contributions. Overall, the experience of Stir Fried's members comes through in the give-and-take of each jam so that no one player is overshadowed.

The folk and bluegrass roots of the band are prominent in a very interesting cover of the Mick Jagger and Keith Richards song "Dead Flowers." Clements and Cage dance circles around the sharp and gritty vocals with what sounds like effortless precision. Much like the author of their next cover song, Rufus Thomas' "Walkin' the Dog," the band makes it pretty clear that they are all about having a good time while they play. There's nothing too profound about the song choice individually; it just seems to fit in perfectly with the other songs on the album, giving fans a chance to get up and groove down to the beat.

The next two tracks give the percussion and bass a chance to shine. James Alvin Harrison drops some thick bass lines in "Get the Money," while Chris Lacinak and Vincent Lorenzo take a rythmic, tribal turn for track 5, "Steel Cage Serenade," a drum solo which segues into a space jam near the end. Anyone who has ever enjoyed a drums/space segment at a Grateful Dead show won't be able to resist shakin' his or her bones to this one. The CD ends, appropriately enough, with a stirring rendition of "Turn On Your Love Light." Stir Fried gives this Dead standard quite a workout, with everybody chipping in their two licks worth.

The most honest reaction I had while listening to Stir Fried's Electrafried was that I couldn't believe I hadn't heard them before. This should not be a problem for a lot of folks in the future. Stir Fried is about to go on a cross-country tour from New York to the deep South and then out West. Some dates are posted on their website http://www.stirfried.com/, but more will be added soon, both there and in our tour database. If you're a big Vassar Clements fan, you can catch him in Nashville, TN on February 26 with the Hillbilly Funk All-Stars. He'll be joined by Jazz is Dead keyboard player T Lavitz. That gig is at Gibson's Café Milano. Better catch these guys soon, at the rate they're fryin', small club venues might not be able to take the heat.