All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Dark Ruminations, tintinnabulations, wails and groans, squeaks and moans, washes of menacing background noisean existential sountrack for a burgeoning century. That's Richard Moore's Now What Now on Louie Records, one of the more adventurous jazz labels around.
"It's O.K. to have that big question mark there." So says Moore, on his slow-burning new-millennium rant about a "Little Scientist Guy" (track 3) "...messing around with some fundamental stuff." (DNA)
Louie Records, based in percussionist Dave Storrs converted garage in Corvalis, Oregon, is better known for putting out some of most exciting new improvised jazz on the scene. But on this one they embrace Richard Moore's big musical question mark, with an offbeat/spoken word/bongo-backing-the-space-ship-noises soundscape
Remember The Beatles? Four British guys, funny haircuts? They indulged themselves, wonderfully, with some fairly offbeat things late in their game. "Revolution #9" on The White Album, "You Know My Name, Look Up the Number" that was a flip side to one of their later hits. Now What Now has that indulgent, experimental feel to it: let's go out in the garage, turn on the switches and grab some instruments and see what happens atmosphere."At some point, the question occurs: what is my purpose in life," says Richard Moore on the title track, before he rolls into a smoldering rumination on the theme.
With Now What Now he seems to have found his.
Track Listing: The Way of Dave, Circular Breathing, Little Scientist Guy, Getting Old, Wigged Out Little Campers, Surrounded by Circuitry, French Twist, Don't Feel Too Good, Insomnia, nowwhatnow, Dik Goung
Personnel: Richard Moore, guitar, vocals; Dave Storrs, percussion; Page Hundemer, bass; Mike Klobas, drums (track 2)
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.