Djam Karet
Web Site
July 2000

By Glenn Astarita

For those who have grown weary of the exorbitant abundance of - ho hum – recordings by certain –progressive rock bands – who often present us with self absorbing concepts or contrived chops fests, than now is the time to check out the artistry of So. California-based “Djam Karet”. Together since 1984, this quartet fronted by the dual guitar attack of Gayle Ellett and Mike Henderson, drummer, keyboardist/EFX whiz Chuck Oken, Jr. and bassist Henry J. Osborne have been steadily nailing everyone’s top ten lists since their inception. Here, we provide a glimpse into the present while also delving a little into the band’s past.

Noted for their multidimensional frameworks and all encompassing sound and style, the band’s penchant and expertise for improvising is well documented. Not restricted to jazz idioms as some might surmise, good musicians with like minds often excel as a working unit, which to some degree just doesn’t occur often enough. However, one of the supreme attributes of this band is their uncanny synergy, focus, well-conceived compositions, shrewdly executed solos and clever arrangements. Besides their often heavyweight sound, the band is equally adept at exploring dark ambient electronica along with a little assistance from such cosmic masterminds as Steve Roach and Jeff Greinke on the 1994 release, titled Collaborator. Their 1991 CD, Suspension and Displacement represents a comprehensive study in airy soundscapes, layered EFX, tribal-like rhythms and ethereal backwashes along with some eerie Science Fiction style spoken word; hence, we have a band who displays the optimum in versatility. While these recordings in particular demonstrate more than just amateurish manipulations of digital workstations or midi patches they are considered viable well-produced entries into the –New Age – or ambient/electronic genres. Perhaps no other working band of this ilk besides King Crimson parallels the excitement and/or commanding presence that “Djam Karet” exhibits in the studio or in a live setting.

So what are they up to now? Well, the recently released and limited edition recording Still No Commercial Potential (available from Wayside Music) is a live digital recording of entirely improvised music. With this release, the band storms through six solid rock pieces that for the most part reaffirms their commitment to improvising and how they exchange notions on the fly via intuitive interplay and clean, tasty licks, booming rhythms and well defined chord progressions. Part of the band’s mystique or character lies within their seemingly inherent abilities to generate excitement of an often climactic nature which is altogether evident on their brilliant 1999 effort, Live At Orion (sound studios) recorded in Baltimore, Md. Simply put, this recording is destined to become a “progressive rock” classic (no jive here)! Few other bands are able to seize your attention in such fashion without losing a grip throughout these seventy-four minutes of music magic. On this release, the musicians construct sonorous melodies in dramatic fashion as they pursue gradual developments via scorching clear-toned guitar riffs, burgeoning rhythmic structures and crafty interplay, yet it all reverts to a distinct sense of heightened intensity, suspense and cunning thematic invention. Throughout, the band takes the listener on an emotional roller coaster ride as they soar skyward into deep space while often sparking our imaginations into some sort of cosmic escapade. It’s not all about aimless explorations or drifting away from the game plan, but in true expressionistic improvisational form, the musicians intelligently devise themes and motifs that touch our souls yet contain the perceived impact of a runaway freight train.

The band’s 1997 release The Devouring is a harmonically rich and beautifully recorded outing that features thoroughly melodic compositions, and Gayle Ellett’s clever utilization of that beloved yet now ancient tape loop contraption called the “mellotron” along with more emphasis on colorful EFX backwashes. With that and the band’s sturdy yet hard-edged attack and memorable compositions, The Devouring is a wonderful exposition of classic 70’s style prog-rock intermingled with contemporary concepts, strong soloing and thoughtful arrangements. Basically, The Devouring is a first-rate and extremely classy production and again, represents one of the recorded highlights of 1997. Whereas, the band’s fiery, hard-hitting 1991 release, Burning the Hard City is yet another powerful recording that boasts pounding rhythms and punishing chord progressions as the band judiciously maintains their acute compositional responsibilities throughout all of the fire and brimstone, blazing lines and shifting rhythms.

Some might allude to a noticeable stagnation within progressive rock circles over the last few decades, which has in some instances relegated this often-complex yet enterprising art form to something that rings of a niche market. Yet, bands such as “Djam Karet”, the legendary (but still a major force) King Crimson and a few others have continued to expand the proverbial – horizons - via futuristic visions that often usher in renewed vigor and growth. “Djam Karet” continues to dispel any primordial notions of a genre that has at times, shifted with the breeze or has been engulfed in obscurity. Perhaps essayist, writer Harlan Ellison inadvertently sums it up. “ Hear the music..it is that which is produced in the hour that stretches, the timeless time wherein ALL songs are sung”. (from Eidolons).

For additional information and ordering – visit the “Cuneiform Records-Wayside Distribution website at: www.cuneiformrecords.com

For biographies, discography and other information – check out the “Djam Karet” website at: www.djamkaret.com