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It's ironic that Anthony Schwartz would be subject to his son's humiliating criticism while recording this record in his basement studio. Perhaps he should have locked out the family pet as well, because the shouted "Didgeridoo-doo!" was a bad start for what otherwise would become a landmark record.
The secret behind Rumble in the Bronx is the way the tube-like native Australian instrument known as the didgeridoo sounds when multiplied by five. The low, gutteral rumbles of Schwartz's multitracked quintet have a way of synergizing to yield a truly massive behemoth. The other thing that sets the record aside is the way the artist has managed to elicit near-perfect tonal accuracy from an typically sloppy medium.
Which means that four-part harmonies, for example, are not out of reachand thus the Christian church hymns here reveal new nuances when taken down into the basement. Crossing the border into the African-American spiritual tradition, Schwartz plies his wares on "Swing Low, Sweet Chariot," nearly breaking into tears at the tune's melancholy conclusion. He says in the liner notes that this tune was recorded shortly after the family terrier, Rex, climbed up and dropped a steaming load on the mixing console. (Apparently the results of such a disaster are not permanent if caught in time.)
"Take the 'A' Train" follows three tunes later, centered around 55 Hz but still retaining the heavy swing that characterized the piece on Schwartz's last record, Take It Home. The artist also wanted to include some contemporary material, especially in light of inspiring developments around his home in the Bronx, so "Sub-Zero Remix" and "Get On The Floor" (both originally by Quad Force) seem entirely appropriate in this context.
It takes a bit of time to adjust to the exotic instrumentation on this recordthough Schwartz claims that only the didgeridoo was used throughoutbut once you've done that, these seven tunes have a way of resonating your chest and bumping a neo-futuristic grind.
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.