JAMAL, KHAN: Drumdance to the Motherland CD (Eremite) - This is an archival release of recordings from ‘72. Very percussion oriented, with two other percussionists in addition to Jamal’s vibes. Some pretty trippy reverbed/delayed electric guitar work, especially on, “Inner Peace”. Not “high art” jazz, but more in the “feel the universal love sounds” jamming vein, but for the majority of this release, I’m feelin’ the love.
THTX: The Lost City (Cosmo-Revolution Technologies)- Third blast from this dependable metro-Detroit contemporary spacerock outfit. Similar to their previous outings, although they’ve augmented their sound by weaving in some jazzy horns on a couple of tracks. Excellent!
More archival additions from my recent numerous Amoeba used vinyl scores:
V/A: In Demons In 10” (Rocket Recordings) - Pretty cool collection featuring three contemporary psych bands (Plastic Crimewave Sound, Lillydamwhite, and The Heads) doing ripping covers of classic nuggets by three leaders of 70’s UK psychedelic “free festival” scene (The Edgar Broughton Band, Pink Fairies, And Hawkwind, respectively). It’s not gonna change your life, but it is pretty neat.
V/A: Strata-2-East 2XLP (Universal Sound) - Fairly respectable collection of tracks from the Strata East label’s cataloge. Obviously, no free jazz blurts here, just mellow jazz goovers, as would be the focus of Soul Jazz/Universal Sound, but still enough interesting influences and elements are present to make this worthwhile.
Did Not Add -
ESPVALL, HELENA: Nimis & Ark CD (Fire Museum) - One might have thought that this solo debut from Espers member, Espvall, might have been some kind of acid folk oriented release. Unfortunately, it’s filled with mostly dark, fairly atmospheric, experimental material, which may find a place in the hearts and ears of others, but not this listener.
LIFE FORCE TRIO: Living Room LP (Plug Research) - Despite being filed under “Jazz” by the know nothings at Amoeba, this release actually contains some pretty lightweight electronica as informed by jazz and hip hop. The A-Side’s tracks are really weak instrumentally and serve as a bed for some really lame vocals. The B-Side’s tracks are better, instrumentals, but it’s too little, too late to save this release by that time.
Running Count For The Year
Did Not Add 72/40%