Poet Steve Dalachinsky has the type of voice that those of us who dont live in New York City often associate with denizens of that metropolis. It produces words in a deliberate and matter of fact fashion with inflections that are equally restrained and pronounced. Dalachinsky never raises his voice much as he recites lines like "love is a criminal that offers me/food while/draining my bones of their marrow." Phrases that could be angry, appear as if they are the most normal things imaginable and that makes them especially piercing.
Dalachinsky is clearly the dominant force here but a number of the most acclaimed musicians in the world of experimental music provide do provide support on the great majority of this discs 33 tracks. All of the musical performances deserve praise but a few are a bit more intriguing than others. Vernon Reid is surprisingly lyrical on both the two tracks where he plays an electric guitar as well as on the cut where he uses an acoustic model. Although their playing is more predictable, flutist Rob Brown and pianist Matthew Shipp use both of their talents to the max when they back Dalachinsky on "the conquest." My favorite performances, however, comes from trumpeter Roy Campbell. He plays in a slightly left of center but wholly comforting blues style on "spring equinox" and "the Mahabharata Bluettes."
All of the tracks last under five minutes and thus, given the alternating lineup, Incomplete Directions lacks a sense of continuity. This is a stellar recording if you like fusions of jazz and poetry. If, on the other hand, you are like me and tend to get bored by such combinations, this disc might work best as a sampler of the same greatest players in the world. And the problem with samplers is that they are rarely satisfying on their own.
if cars could fly; james dean; night viewing; disjunctive; the saxophone
factory; tapping the reed; in the book of ice #4; in the book of ice #5; empire; i dreamed i
was van gogh; duets; 3 card monty; one thin line; for mary; lament #1; incomplete directions; nightglass; spring equinox; new jersey; the conquest; in the cold; a tale of krishna; focus; glissandos; slim slow swimmer; the tv Is totally broken; the Mahabharata Bluettes; for the dance; tribute to Bob Kaufman (the shadows); blue #1; THE MUSIC WOKE US UP ONE NIGHT; the wind.
Personal: Steve Dalachinsky voice; Daniel Carter - assorted reeds, flutes; Sabir Mateen - assorted reeds, flutes; Vernon Reid -electric and acoustic guitar; William Parker bass; Stephanie Stone piano; Thurston Moore - acoustic guitar; Tom Surgal drums, percussion; Mat Maneri - electric violin; Assif Tsahar - tenor saxophone; Susie Ibarra drums; Matthew Shipp piano; Vito Ricci - electronics, split drum; Roy Campbell trumpet; Rob Brown flute.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.