sundance bookstore featured music archive

BOBBY HUTCHERSON - HEAD ON (Blue Note)
Head On is an album originally released in 1971, but finally makes its first appearance on compact disc courtesy of Blue Note’s Connoisseur series. Hutcherson signed with the label in 1963, and stayed with them until the Blue Note imprint took a temporary leave of absence. These sessions featured collaborations with pianist/arranger Todd Cochrane, who at the time was a prominent West Coast composer of advertising jingles and session maestro. Cochrane was eager to work in a context that provided broader opportunities for creativity and room for experimentation, and this album is the result. The original release featured four lengthy tracks, three penned by Cochran, and one by Hutcherson. The CD reissue boasts three additional bonus tracks from the same sessions that actually offer longer playing time than what was on the original LP, so you get about 75 minutes worth of music. The concept here is Hutcherson’s regular quintet (featuring longtime collaborator Harold Land on tenor saxophone and flute), augmented with an additional horn section and percussionists used for coloration as opposed to individual soloists. The first track, At the Source, is a three part montage in which the extra horns are featured most prominently, giving the track a feel not unlike Gil Evans work with Miles Davis, but with Hutcherson (on vibraphone, as well as quite a bit of marimba this time out) being the dominant soloist. There is not a lot of rhythmic thrust here, but instead, more of a dreamlike sensuousness pervades. The second tune, Many Thousands Gone, has a more blustery, free feel, where trumpeter/flugelhornist Oscar Brashear, Land, Hutcherson and Cochrane shine in their solos. Of special note throughout the album is the texture provided by Cochrane’s piano paired with William Henderson on electric piano. The effect is similar to Miles’ electric groups, In a Silent Way in particular, and again one notes how a different result is achieved with different musicians and personalities using similar instrumentation and ideas. Mtume (composed by Hutcherson, and named after Miles’ long serving percussionist), the most up tempo number, is a thick, aggressive chugging rhythmic mass, bolstered by all manner of kit drums, congas, and woodblocks, creating dense, complex polyrhythms for the soloists to cruise upon. Clockwork of the Spirits is the last track of the original LP, and contains elements of all the previous tunes, and acts as a sort of thematic summation to the album, again with all the principle players turning in great performances. The extra material was recorded at the same sessions using the same musicians, and the overall dynamic is in keeping with the original songs, but are much more explicitly funky and driving. Cochrane’s Togo Land opens with a very open modal vamp that everyone digs into, somewhat like the track Mtume, but less hectic. The drums and percussion (on this and the whole album comprising Stix Hooper, Ndugu Leon Chancler, Robert Jenkins and Warren Bryant) lay down a super funky groove that is irresistible. Jonathan is another Cochrane theme, this time a ballad with a cool piano turnaround at the end of the Latin inflected main theme. The set concludes with another extended funky workout, Hutcherson’s 17 minute Hey Harold (for Harold Land), in which Land (on flute) gets to spar with Fred Jackson on piccolo over another percolating vamp. Hutcherson, Cochrane, and Brashear sizzle during their solo spots as well, and those 17 minutes are over in a flash, an exhilarating finale to a very satisfying album.

MUDCRUTCH—SELF TITLED (Reprise)
In world where “what might have been” postulations run amok, it is rare indeed that such a question ever gets an answer. Case in point: Tom Petty & the Heartbreakers earlier incarnation as Mudcrutch, the Florida-based group led by Petty that played their local bar scene with a mixture of cover tunes and original compositions, but never caught on or cut a full length album. Petty had apparently mulled around the idea of reforming the band with its original members 30 odd years later with the intent of making a record and doing a U.S. tour for quite some time. Such a notion of going back to ones roots like this can often seem folly, but Mudcrutch’s debut is a triumph in many ways. The group consists of Randall Marsh (drums), Tom Leadon (guitar, and brother of the Eagles founding member Bernie Leadon), and Heartbreakers (and Mudcrutch alumni) Benmont Tench (keyboards) and Mike Campbell (guitar), with Petty himself switching back from guitar and vocals to bass and vocals as per the original line-up. While there are certainly plenty of valid comparisons to Petty’s work with the Heartbreakers, there are some notable differences. The album includes an unprecedented number of cover versions, including Shady Grove, Six Days on the Road, and others. Petty cedes lead vocals in spots to Leadon, and the whole record has a first take looseness and vitality, exemplified in the ragged jam Crystal River. The record has been compared to the Grateful Dead in their American Beauty phase, or the Byrds following Gram Parsons departure, and this is certainly not too far off the mark. What is apparent is the empathy these musicians still possess after so long apart, and it gives one a warm fuzzy feeling to know that after spending their lives in obscurity for so long, that Marsh and Leadon (who have spent the intervening years giving lessons on their respective instruments) have been given their chance to shine in the spotlight at last.

The master tapes of this dynamic set were found recently in the Library of Congress by Blue Note kingpin Michael Cuscuna. It documents a fertile period for Horace Silver’s quintet, at this juncture consisting of Silver regulars Junior Cook (tenor saxophone), Gene Taylor (bass), Louis Hayes (drums), and Silver (piano). The fifth member of the ensemble, trumpeter Louis Smith, was an excellent player capable of fleet, rapid fire runs on his horn. Smith never got the level of recognition of peers such as Lee Morgan, Donald Byrd, or Blue Mitchell (the man who subsequently replaced Smith in this group), due to the fact that he seldom recorded under his own name (Blue Note are finally issuing two sessions from this same time period this year). This was compounded by Smith mostly retiring from the jazz scene soon after this performance to focus on teaching. The quintet are playing very hot on this set, consisting of four elongated original Silver classics: Tippin’, Senor Blues, The Outlaw, and Cool Eyes. The length of the tracks allows each soloist plenty of room for expression, with Taylor and Hayes locked in a percolating hard bop groove, and bolstered by Silver’s trademark grafting of driving, funky, often Latin influenced rhythms onto compositionally demanding charts. With so few live examples available of Silver’s groups (especially relative the large number of his studio works), this is an invaluable addition to Silver’s catalogue.

Michelle Shocked: Live and in Concert

Michelle Shocked wowed the crowd gathered to hear her perform at Carson City’s legendary Brewery Arts Center last Friday, April the 18th. She delved deep into her repertoire, playing favorites from Arkansas Traveler, Short Sharp Shocked, and her most recent album the gospel influenced To Heaven U Ride. Backed by a top notch group (among them a bassist who doubled on brass and percussion), Shocked led her musicians through energetic, funky, and often greatly extended versions of songs from her oeuvre that got the audience rocking, swaying, and dancing with gusto. Long considered a maverick by music biz types, Shocked has battled extensively with her former major label bosses (which meant that her albums were long unavailable for purchase), and eventually wrested control of her back catalogue. All her classic recordings are now available on her own imprint (Mighty Sound), bolstered with a generous addition of previously unreleased bonus tracks. Michelle plans to head to the studio later this year to record material for a forthcoming album! Come to Sundance Bookstore, and ask our knowledgeable staff about Michelle Shocked, and other fine artists selections in our ever growing music department!

JAMES WILSEY - EL DORADO (Lakeshore)
James Calvin Wilsey may be an unknown quantity to some, but his work as guitarist with Chris Isaak certainly will be familiar to many. His signature tremolo soaked guitar figure on Isaak’s smash hit “Wicked Game” contributed immeasurably to that song’s success, and to Isaak’s early albums in general. Tiring of the grind of life on the road and wishing to spend more time as a family man, Wilsey left Isaak and took a lengthy sabbatical. El Dorado marks his return to music. The album was recorded at Wilsey’s home, with the man himself playing all the instruments. The album has a strong Southwestern vibe, as evinced by songs titles such as the Rattler, Tierra del Fuego, and the titular track. One can almost see the buzzards circling overhead in the blistering sun, and hear the coyotes a-howling in the darkening butte-lined horizon soon after sunset. Real kick-off-your-spurs-and-pour-a-stiff-whiskey stuff! This is a fantastic instrumental showcase for his guitar work, with its clean-toned reverb and twang, and songs that have an instantly familiar feel and likeability. It will appeal to fans of Duane Eddy or Link Wray and perhaps even surf music instrumentalists such as the Ventures and Dick Dale.

DRIVE BY TRUCKERS—BRIGHTER THAN CREATIONS DARK
(New West)
Coming off what some felt was an uneven and lackluster album, 2006’s A Blessing and a Curse, the Drive By Truckers come roaring back with Brighter than Creations Dark. In between the two albums came a dramatic upheaval. The group’s songwriting/singer/guitarist triumvirate of Patterson Hood, Mike Cooley, and Jason Isbell was lost when Isbell left the group last year (a decision precipitated when Isbell and the group’s bassist Shonna Tucker divorced). Recruiting long time contributor John Neff on guitar and pedal steel as a permanent member, the group rallied and have released what is perhaps their best album since 2002’s iconoclastic opus Southern Rock Opera. The album features a wealth of tight, finely honed material from not only from Hood and Cooley, but from the previously untapped pen of Tucker, who writes and sings three numbers on the record. That Tucker can hold her own with such well established songwriters as her band mates is notable itself, but it also serves to give the group more shades of tonal variety with a female lead vocalist complementing the other singers. Focusing on the well trodden yet invested with freshness themes of love, family, booze, regret, heartbreak, lust and loss, the Truckers wrap it all up in their patented six string fury and finesse, making Brighter than Creations Dark an early contender for the cream of 2008’s best albums.

JOHNNY CASH/THE BEST OF THE JOHNNY CASH TV SHOW 1969-1971
Co-produced by Cash’s son, John Carter Cash, this cd or dvd picks the musical highlights of the Man in Black’s four year run on network prime time television. Cash himself performs several times, but the real surprises are his personally hand-picked guests: one certainly wouldn’t be shocked to see performers such as George Jones, Tammy Wynette, and the Statler Brothers, but renegade outlaw country artists Kris Kristofferson, Waylon Jennings, and Bobby Bare are also featured. Furthermore, Cash truly transcends musical borders with the likes of Roy Orbison, Joni Mitchell, Ray Charles, Derek & the Dominoes, and his fellow “Million Dollar Quartet” alumni Carl Perkins. The dvd even goes several artists better, adding Bob Dylan, Neil Young, Merle Haggard, Loretta Lynn, and Creedence Clearwater Revival to the list of truly stellar one-of-a-kind performances. Clearly, then, these sets are not just for Cash-ophiles and country fans, but for music lovers of all stripes.

SHARON JONES AND DAP KINGS/
100 DAYS 100 NIGHTS
Sometimes, patience is rewarded. Sharon Jones is a powerful singer who has contributed backing vocals to numerous soul, disco and r&b recordings since the late 1970's. She always had an eye toward getting a recording deal of her own, but by the 1980's, her style of powerfully sung soul and funk in the mold of Bettye Lavette and Ike & Tina Tuner was seen as out of step with the times, and no offers were forthcoming. She then took a break from music altogether, working as a corrections officer in New York. In the late 1990's, Jones decided to give music another shot, recoding and releasing a handful of singles for Desco Records, before finally signing with the Daptones label in 2002. Since then, she has cut two full length records for the label, both featuring the label's house band, the Dap Kings, of which 100 Days and 100 Nights is the latest. Which brings the dear reader to the question: what about the music? The music is simply some of the most energetic, soulful, and powerfully bluesy that one could hope for. The Dap Kings provide high octane support for Jones (having also supplied backing on Amy Winehouse's Back to Black album and Lily Allen's Alright Still), packed with greasy rhythms and punchy horns. Jones herself is possibly the strongest singer of this type working today, evoking echoes of Aretha Franklin, Janis Joplin, and Irma Thomas, in addition to the aforementioned singers, but mostly courting with a blazing fire all her own.

IRON AND WINE/THE SHEPHERDS DOG
With each successive album, Iron Wine have displayed an intent to forge ahead, and to avoid complacency. On earlier albums, leader/songwriter/singer Sam Beam's understated and whispery vocal delivery was matched by equally understated and whispery music, and a general Southwestern vibe that are all commonplace on a Calexico record, but not on an Iron and Wine record. Until now. Obviously emboldened by this new sonic approach, Beam and his musicians have come up with what may be their finest effort. In addition to the extended instrumentation, Beam has also used the recording studio as a tool in a way he has never before, adding brightness and shade to the full-bodied arrangements. The subject matter is till somewhat dark, haunted, and oblique, but the music is so strong, and strongly executed, that the results are amazing and consistently engaging.

GRAM PARSONS AND THE FLYING BURRITO BROTHERS/ARCHIVES VOLUME 1
Twenty years in the making, this project is a label of love for Amoeba records co-owner/founder Dave Prinz. It is a two-disc set that showcases two concerts given in April 1969 when the Burrito Brothers opened for the Grateful Dead at San Francisco's fabled Avalon Ballroom. The shows were recordings with great fidelity by the Dead's legendary sound man Owsley "Bear" Stanley. Navigating various legal issues and much copyright wrangling and red tape, Dave Prinz has gifted Parsons fans with an invaluable document featuring Parsons and the Burritos at the height of their powers. Along with fellow ex-Byrds' members, bassist and vocalist Chris Hillman, and drummer Michael Clarke, plus lap steel guitar wizard Sneaky Pete Kleinow, Gram Parsons set the template for the burgeoning country rock scene of the 1970's, and has influenced and/or spawned a mighty host of imitators since. The music featured on this set is comprised of both Burrito originals, and covers of tunes by hank Williams, George Jones, Phil Everly and little Richard. An obvious essential purchase then, for fans of not only Gram Parsons, but the alt country genre in general.

NEIL YOUNG/CHROME DREAMS II
The title of this record is somewhat of a misnomer: the original Chrome Dreams was recorded in the late 1970's, but was never released as Young decided to shelve the project. Some tracks (classics such as Like a Hurricane and Powderfinger) were released and/or rerecorded on subsequent albums. This is all perhaps a bit superfluous to the material on Chrome Dreams II, much of which is excellent. The centerpiece of the record is the 18 minute Ordinary People. This track was recorded for Young's big band with horns album from 1988, This Note's for You, but was left off due to the time constraints of the vinyl LP. It is a major piece of work, with sprawling guitar, saxophone and trumpet solos bracketing typically stinging verses. It bears comparison with the track Crime in the City from Young's 1989 classic Freedom. This song alone would make this a necessary purchase for hardcore Young fans. But there is a much else here to admire. Chrome Dreams II is one of Young's records that offers examples of both the acoustic balladeer (Boxcar, Beautiful Bluebird, and the children's choir led The Way) and the cantankerous electric rocker (Dirty Old Man, and No Hidden Path). That these songs were recorded at different places and times over the years may cause worry that this is a piecemeal, slipshod affair. The upshot is that many of Young's best albums of the 1970's were put together in precisely this fashion, Tonight's the Night, On the Beach, and Harvest among them. While time will tell if Chrome Dreams II belongs in that exalted company, it is undeniably a great addition to his cannon.

ROBERT PLANT and ALISON KRAUSS/
RAISING SAND
Despite the raised eyebrows and hushed murmurs of "What the hell....", a collaboration such as this invites. Raising Sand is a gem. A closer investigation into Robert Plant's Led Zeppelin reveals a vein of acoustic and roots music that actually runs quite deep, particularly on Led Zeppelin III, but also quite audible on all their other records as well. So it should come as no great surprise this album of duets with Alison Krauss sounds closer to the country two step of Bron-Y-Aur Stomp than the overtly phallic bradaggio and swagger of Whole Lotta Love. However, it also brings Krauss into a grainier territory than she normally inhabits of late, and it is nice to hear her get a bit of dirt under her fingernails. The record consists of cover tunes written by very fine songwriters: Mel Tillis, Tom Waits, The Everly Brothers, Townes Van Zandt and Gene Clark are just some of them. Produced by T-Bone Burnett, and buoyed by a stellar cast of musicians, including guitarist Marc Ribot, Raising Sand is ultimately a success based on Krauss' pure as clover honey voice, and Plant's elemental rasp. This is sure to be a contender for album of the year for many fans and critics alike.

MANU KATCHE/PLAYGROUND
French-born Manu Katche has been an in demand session drummer for the likes of Peter Gabriel, Robbie Robertson, Sting, and many others for over 20 years, this is his second record as a leader, following last year's excellent Neighborhood. Like that album, Playground is a jazz record filled with stately, memorable themes packed with melody and played impeccably by his top flight international group: Trygve Seim, saxophones; Mathias Eick, trumpet (both from Norway), Slawomir Kurkiewicz, bass; and Marcin Wasilewski, piano (both from Poland and on loan from Tomasz Stanko's excellent quartet). Playground is one of those rare albums that is mellow, beautiful, and relaxing while still full of substance and stands up to repeated listens. This is sure to be in many jazz critics top ten records of 2007 and deservedly so!

DAVID GILMOUR/REMEMBER THAT NIGHT LIVE AT THE ROYAL ALBERT HALL DVD
This is truly a great time for Pink Floyd fans, as this arrives in stores just after the Piper at the Gates of Dawn box set. This concert was filmed in London at the end of Gilmour's European tour. The performance includes Gilmour's On an Island album in its entirety, plus loads of classic Pink Floyd stuff (several of which have been seldom or never performed live), including a 20-plus-minute version of fan favorite Echoes. The band includes fellow Floyd Richard Wright on keyboards and vocals, Roxy Music guitarist Phil Manzanera, and guest appearances by David Crosby, Graham Nash, and David Bowie. Viewing the dvd is a real treat as the positive vibrations and respect the musicians have for each other are in abundant evidence! The set also features an additional disc that contains more concert footage from other dates on the tour, plus highly enjoyable behind the scenes material. Over 5 hours of the stuff! Spectacular! This, paired with the aforementioned Pink Floyd/The Piper at the Gates of Dawn box set make awesome holiday gifts for the Floyd freak in your family, taken separate, or together!

MARK KNOPFLER/KILL TO GET CRIMSON
In many ways, Englishman Mark Knopfler's post Dire Straits' output is as "Americana" sounding as any of the U.S. born artists that share that particular description. His long time attraction to laid back country, folk, and bluegrass manifests itself strongly once again on his latest album. This is as consistent as any solo record he has done: fans looking for early Dire Straits-style fiery fretwork are advised to look elsewhere, as quiet restraint and focus on the songwriting rules the day.

PINK FLOYD/THE PIPER AT THE GATES OF DAWN
Deluxe Edition, 3 CD Box Set
Pink Floyd fans bask in the splendor of this, the Floyd's very first record from 1967. With original frontman guitarist, singer and songwriter Syd Barrett, at the helm and recorded at Abbey Road Studios down the hall from where the Beatles were recording Sgt. Pepper's Lonely Hearts Club Band.
this stands as a corner stone of the British psychedelic scene. This set features both the stereo and mono mixes, plus, a third disc of rare singles, B-sides and a previously unreleased version of "Interstellar Overdrive." This is the juncture at which pop song, English whimsy, fractured fairy tales and unhinged improvisation converge. With Barrett's unpredictable yet melodic guitar, Richard Wright's ghostly (and often underrated) organ and piano work, and the enthusiastic rhythm section of bassist Roger Waters and drummer Nick Mason, this is a work that has since been often imitated, but never bettered.

THE WATERBOYS/BOOK OF LIGHTNING
Leader Mike Scott and The Waterboys return with what might just be their strongest record since 1985 Fisherman's Blues. All the elements are in place: the big, wide open sky, almost majestic sweep of the music, the familiar lyrical subject matter of love, loss, life, hope & spiritual themes and the overt gestures toward celtic music, courtesy of long time fiddle player Steve Wickham, and given additional sonic breadth by another longtime member, trumpeter, Roddy Lorimer. Hoist a pint, push play and enjoy!

SOL' JIBE/NEW DAY
Local favorites Sol' Jibe return with a "mini album" of 5 songs. Their uplifting stew of world musics, with a dash of jam band aesthetics, and great songwriting is a wonder. The rhythms, the acoustic guitar, violin, saxophone and percussion are top notch as always. Try this record and their previous offering "Marinero" and prepare to be impressed!

JOE HENRY/CIVILIANS
The people are graced with a new Joe Henry. He has been busy in the interim - producing records for Mary Gauthier, Aimee Mann, Bettye LaVette, Ani Difranco, and Loudon Wainwright's Strange Weirdos album form earlier this year. In fact, the group on Wainwrights album is the same as Henry's: Bill Frisell, guitar; Greg Leisz, pedal steel and mandolin; Jay Bellarose, drums and David Pilch, bass. To describe the music itself is somewhat difficult: somewhere between jazz, folk, rock and pop, and that is part of its attractiveness. Henry's noir-ish approach is intact, and the music's and lyric's seductive qualities reveal more with each successive listen.

BEN HARPER AND THE CRIMINALS/LIFELINE
This, Harper's eighth studio recording, was recorded immediately following a European tour. Aiming for first take freshness with minimal overdubbing and studio sheen, it was done quickly, the whole process completed in less than two weeks. It continues the evolution of his singular blend of rock, blues, gospel and soul. This is both a great place to start for those first time buyers, and a must have for the already converted.

FLORATONE/FLORATONE
Floratone is a collaborative studio project by jazz guitar master Bill Frisell, and in-demand drummer Matt Chamberlain (Tori Amos, Fiona Apple, John Mayer, and many more) along with producers Tucker Martine and Lee Townsend. Listeners familiar with Frisell's previous Americana influenced outings will relish the familiar terrain explored here. This music is laden with desert imagery as twangy guitars merge in the heat haze with funky drumming and the supple backbone of guest bass maestro Viktor Krauss. Let this evocative masterpiece be the soundtrack to your last summer activities.