Celebrated Southern Californian progressive-rock band Djam Karet has extended the scope of its Firepool Records label by signing Herd of Instinct. With the ensemble's sophomore release for the label, Karet guitarist Gayle Ellett augments the core trio by performing on a vast array of keyboards, and uses the Mellotron as a vehicle to summon a classic '70s prog sound, at times sparking remembrances of vintage King Crimson.
This electrifying unit translucently morphs the days of prog-rock yore with an ultramodern scope. No doubt, the artists tread lots of fertile ground and abide by a polyrhythmic manifesto, shadowed by wide-ranging guitar articulations and keys driven textures. The musicians also render wraith-like atmospherics and bone-crunching riffs, disseminated with brief micro-melodies and a soundscape of opposing cadences and shifting paradigms. The outing is supplemented by guest artists, including bassist Colin Edwin of Porcupine Tree fame.
Mike Cook's touch-style, Warr guitar lines are prominent throughout. He either employs streaming, extended notes and legato phrasings or crosscuts through the deep bass parts and variable metrics, but not certain if Cook or guitarist Mike Davidson are responsible for the Robert Fripp-like sustain voicings. Regardless, the King Crimson element veers in and out, yet the band's holistic muse also bridges world music, largely evidenced on "Solitude One, " and features drummer Jason Spradlin's tabla programming that generates a steady Indo-fusion vibe. Here, the band entwines ambient electronica with a pulsating rock groove while implicating a many-sided and borderless environment, surging forth with glittering hues.
"Vargtimmen" kicks off with Cook's slinky electric fretless bass incarnations, followed by a moveable feast of symphonic electronics effects and mystical spoken word. Moreover, Ellett's Mellotron choruses beckon a hint of antiquity within the classic prog vein, equating to an affable vibe that softens the power-packed assault. They finalize the multifarious festivities with the somewhat ominous "The Secret of Fire," rooted on a thriving progression of guitars, synths and keys. Overall, it's a meticulously formulated and superlatively executed engagement that discloses newfound trinkets on subsequent listens. Indeed, a top-shelf product.
Track Listing: Praxis; Dead Leaf Echo; Brutality Of Fact; Alice Krige pt.1; Solitude One; Ravenwood; Mother Night; Vargtimmen; Malise; New Lands; A Sense Of An Ending; The Secret Of Fire
Personnel: Mark Cook: Warr guitar, fretless bass, guitar and programming; Mike Davison: guitar, 12-string acoustic guitar and guitar synth; Gayle Ellett: Moog, Mellotron, Hammond organ, Rhodes and dilruba; Jason Spradlin: drums and programming. Guest musicians - Joel Adair: trumpet (4); Joe Blair: lap steel guitar (4); Colin Edwin: fretless bass (1, 11); Bob Fisher: flute (1, 4); Lisa Lazo: keyboards (5).
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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