Out of the Woods
LOREN MAZZACANE CONNORS & DARIN GRAY The Lost Mariner (Family Vineyard) LOREN MAZZACANE CONNORS & DARIN GRAY The Lost Mariner (Family Vineyard)
Loren Mazzacane Connors has always had collaborators. Even in the 80s, when his self-released limited-edition records appeared in white cardboard sleeves with photographs pasted to them, he frequently worked with vocalist Suzanne Langille, and the last decade has seen him perform with new-music iconoclasts like Keiji Haino and Alan Licht. The four-disc Unaccompanied Acoustic Guitar Improvisations was remastered by post-rock luminary Jim ORourke and produced for reissue by Thurston Moore, among others, as a 50th-birthday present to Connors, and the recent The Lost Mariner pairs him with Darin Gray, yet another Chicago post-rock veteran. Yet the work of this singular and profoundly ruminative guitarist has always seemed solitary. Connors music is about people the poor in Hells Kitchen, the painter Mark Rothko, ghosts in a haunted house but there are no people in it.
The Acoustic boxs 90-plus solo improvisations, grouped into nine long clumps that run as long as 37 minutes, are grating, repetitive and unpleasant, marked by Connors trademark note bending and meditative silences but lacking the dissolving fragments of melody that give his best work its brooding, earthy intensity. In addition, Connors grunts and squeals as he plays, providing Keith Jarrettstyle distraction without the balm of tunefulness or developing harmonic tension. For fans, the pieces will remain intermittently fascinating a completely personalized Czerny-style primer for an emerging new-music master but they dont sustain or reward focused listening. Connors booklet-length accompanying essay, though, which recalls his days creating these recordings in a dreary New Haven neighborhood wracked by a specifically New England sort of creeping desperation, is nearly worth the price of purchase. As Connors himself notes, My music didnt have much of a sense of mystery then.
The Lost Mariner, on the other hand, is all mystery. From the bell-like chimes of guitar that open the disc to the massing midnight storm of feedback-wash and subtle discordance that builds during the final fragments, Connors and partner Darin Gray create an open, rolling, horizonless space. Bits of old blues-based tunes float, flotsamlike, on the surface. Every now and then Gray will knock a steady, slow bass part against Connors leaking hull of lashed-together chords, or Connors himself will unleash a sea gulls cry of weeping guitar, but nothing disrupts the sea of sound. As always, the mariner himself is long gone, and the suite isnt for him. The operative word in the title is lost.
HOBEX Back in the 90s (WEA/Sire)
Another group of Caucasians inspired by soul, R&B and funk is not exactly what the world needs. Yet while its true that North Carolinas Hobex has tapped the heart of 70s Memphis soul, it has done so with a sense of adventure rather than mimicry or mere reverence. Writing and arranging songs like hes the godchild of Al Green and Alex Chilton, singer-songwriter/guitarist Greg Humphrey (who, along with Hobex bassist Andy Ware, headed up the tuneful, jangly Dillon Fence) has happened on a sound that, from the first note, crackles with freshness and inspiration.
Groove, Baby takes off with a loping groove, subtle Hammond textures and a choppy rhythm guitar, but its Humphreys rich melody lines and cooing falsetto that turn the trick. On the solo, he translates that sense of melody directly to his clean, reverbless guitar style. The Love Thats Inside takes its cues from the Isley Brothers classic Whos That Lady as well as the forgotten Stories hit Brother Louie. The feel-good groove of Windows (featured in the movie Rounders) is a natural drivin-in-your-car single, and when they launch into exuberant 70s-rock twin leads, youll forget its been done a hundred times before.
In short, Humphrey uses all the old tricks like a pro: killer horn charts throughout, a funky vocal EQ and wah-wah guitar on I Was Wrong, a mutated Suzy Q riff on the swampy My Moonshine and rich, sophisticated harmonies on Solaar. Most musicians quickly figure out how to borrow from the masters, but only a few are talented enough to listen and learn a thing or two. (Michael Lipton)
JOE CLAUSSELL Language (Ibadan)
Therere two ways to get an understanding of Joe Claussells music: You can hop on a plane to NYC and head straight to Claussells world-renowned Body and Soul Sunday-afternoon tea dance, or you can get his latest disc, Language. Going the more practical route, Language is a smarter bet.
Now, before you start picturing electronic wizardry, laser shows and hands wavin in the air, think again, folks, cause this aint that kind of party. Theres no techno trickery here, no hammering drum machine. Bearing the flowing essence of Afro-house music, jazz and world beats, Language takes you on a chill-out journey of deeply soulful and jazzy ambiance. If the music had a physical manifestation, it would possess full, negroid lips; dark-chocolate skin; a long, slender neck; high, regal cheekbones; a severe buzz cut; and a sinewy body with legs thatd go on forever. It would be female, and it would speak only the language of body. It would sweat, twitch, hump, rock and thrust its slippery cocoa hips high to the heavens. Above all, it would be an ever-faithful slave to The Rhythm.
Right, itd be the spitting image of Grace Jones. Or better yet, how about Africa, the motherland? The conga-rich Spiritual Insurrection starts things off, winding through a rhythmic maze of subtle bass lines and titillating keyboard arrangements, with the flute taking over the lead on the following Git Wah. On Kryptic Elements, violin meets flute and conga drum, all caressing each other in a melodious ménage à trois of freeform bliss. Besides one lone vocal track, Je Ka Jo, the rest of the seven cuts are pure instrumental bliss. Other highlights include Gbedu 1 Gbedu Resurrection and the groovy licks of Mateens Theme.
Executive-produced by Afro-house-music legend Jerome Sydenham and Claussell, Language is one of several albums over the years that have emerged out of the Body and Soul Sunday affair. Claussells partners Francois Kevorkian and Danny Krivet have both released their own series of albums celebrating Afro-house rhythms, but for the initiated, Language speaks volumes. (Derrick Mathis)
THE TRENIERS Best of the Treniers Vol. I (www.thetreniers.com)
The Treniers, Americas first family of rhythm & blues, have been romping and roaring, nonstop, since the mid-1940s. Their high-voltage, harmony-shout jump blues, tempered with ballads, pop standards and novelties, has made them a staple in Las Vegas lounges since 1949 (though of late theyre working more often in Atlantic City). Even while mixing in lounge nuggets like Hava Nagilah and Broadway show tunes, the Treniers are one of the few R&B acts to successfully maintain their own pure sound, demonstrating a capability for commercial survival on their own artistic terms that is, compared to most of their colleagues flamed-out careers, nothing less than extraordinary.
This outrageously fabulous collection, from the vaults of nephew Harold Slick Trenier, showcases the bands limitless capability and singular R&B-pop flair. The cassette-only release offers a kaleidoscopic variety of musical styles from a variety of sources, including live television appearances, indie 45s and self-produced recordings made for sale at personal appearances, and Slick has done an ace job cleaning up the varying degrees of tape hiss and surface noise these tunes survived with.
The Treniers have always tailored material specifically for themselves, as with their adaptation of King of Swing Jimmie Luncefords Rhythm Is Our Business, which became the groups theme and perennial show intro, Rocking Is Our Business. The tape opens with a joyously savage live version and segues into a wild, stripped-down folk-jive cover of the old-timey hillbilly standard I Gotta Travel On. Theres a great big-band-pop take on still-in-the-book favorite Outta the Bushes; another country song, When Your Hair Has Turned to Silver, given an Eddy-Arnold-meets-the-Ink-Spots treatment; and the bluesy menace of Cheatin on Me, where stalwart saxophonist Don Hill reigns supreme. Masters of a very old-school comedic misogyny, they outrage with Bust Her in the Mouth, and novelties like the bizarre Gonna Catch Me a Rat and Flapjack Moon delight. With 21 songs featured, there are out-of-control early-70s funk workouts, swoon-assured ballads, flat-git-rockers and more. Available only through Slicks thetreniers.com site, at a mellow 10 bucks a throw, this is an absolute must-have. (Jonny Whiteside)
PAPAS FRITAS Buildings and Grounds (Minty Fresh)
Papas Fritas was named after an inside joke from Spanish class. Now the three kids from Tufts U., guitarist Tony Goddess, bassist Keith Gendel and drummer Shivika Asthana, claim theyre growing up. Yet while theres no doubt theyve matured, they still worship at the altar of three-minute pop, which may no longer be time enough for all theyd like to accomplish. 1997s Helioself was filled with autobiographical band shenanigans and hyped-up mod trip-outs about small rooms. It also left Goddess in a hard place; grappling with maturity and the reality of record sales, hes decided to iron out the wrinkles in his arrangements and opt for a seamless, heartfelt sound on Buildings and Grounds.
One could argue that Goddess has tried a bit too hard, since much of Buildings sounds like cutting-room scraps from a 1976 Fleetwood Mac session. If the warmth of the record is in question, theres no denying Las Fritas have succeeded, but at the price of sounding overly familiar. On the other hand, handclaps and chiming vocal backgrounds à la Manfred Mann and the Turtles will never go out of style. The voices of Asthana, shy like the girl in your brothers garage band, and Goddess, who drags his vowels through the gravel any chance he gets, keep Buildings from making an overproduced mess of itself. Goddess, a graduate of the Brian Wilson school of pop orchestration and harmony, slips his hooky guitar solos in your ear with ease, but he tends to hang out there too long, as is the case on the jangly ode to a poseur, Questions, and on What Am I Supposed To Do?, a please-be-mine infatuation song.
It also sounds like Papas Fritas have taken some pointers from labelmates the Cardigans with the superpolished swing-and-sway-by-the-poolside vibe of Far From an Answer, not to mention some awfully easy rhymes that will never change your life. But be careful, because the Maybe I will and maybe I wont/Maybe I do and maybe I dont fade-out on Lost in a Dream just might hypnotize you into listening again and again. God knows theres no substitute for an expertly produced, peppy pick-me-up at the end of the day i.e., a good pop album. (Wendy Gilmartin)
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