(Retro Jazz, Modern Jazz) [CD] Mostly Other People Do the Killing - Red Hot - 2013, FLAC (tracks+.cue), lossless
![(Retro Jazz, Modern Jazz) [CD] Mostly Other People Do the Killing - Red Hot - 2013, FLAC (tracks+.cue), lossless](/upload/000/u2/a0/33/retro-jazz-modern-jazz-cd-mostly-other-people-do-the-killin.jpg "(Retro Jazz, Modern Jazz) [CD] Mostly Other People Do the Killing - Red Hot - 2013, FLAC (tracks+.cue), lossless")
MOSTLY OTHER PEOPLE
DO THE KILLING
RED HOT
Жанр: Retro Jazz, Modern Jazz
Страна-производитель диска (релиза): USA
Год издания: 2013
Издатель (лейбл): Hot Cup Records
Номер по каталогу: HC125
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 52:35
Источник (релизер): спасибо Otingocni
Наличие сканов в содержимом раздачи: нет
Треклист:
1. The Sickshinny Shimmy
2. Zelienople
3. Red Hot
4. King of Prussia
5. Turkey Foot Corner
6. Seabrook, Power, Plank
7. Orange is the Name of the Town
8. Gum Stump
9. Bird-in-Hand
DO THE KILLING
RED HOT
Жанр: Retro Jazz, Modern Jazz
Страна-производитель диска (релиза): USA
Год издания: 2013
Издатель (лейбл): Hot Cup Records
Номер по каталогу: HC125
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 52:35
Источник (релизер): спасибо Otingocni
Наличие сканов в содержимом раздачи: нет
Треклист:
1. The Sickshinny Shimmy
2. Zelienople
3. Red Hot
4. King of Prussia
5. Turkey Foot Corner
6. Seabrook, Power, Plank
7. Orange is the Name of the Town
8. Gum Stump
9. Bird-in-Hand
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 21. October 2013, 12:34
Mostly Other People Do the Killing / Red Hot
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Track 4
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Track 5
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Track 6
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Track 7
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Track 8
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Track 9
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Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 2013
REM DISCID 6C0C5309
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PERFORMER "Mostly Other People Do the Killing"
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Об альбоме
AllAboutJazz
I've been too busy enjoying the music of Mostly Other People Do the Killing (MOPTDK) to realize how controversial they've become. If you doubt their ability to rile the jazz world, all you have to do is post one of their videos on your Facebook page and wait for the ensuing kerfuffle to begin. The core band is comprised of four virtuoso instrumentalists, free-spirits who think nothing of hopping from honest-to-god punk rock, to free improv, to hard bop, to Americana, and back; sometimes in the space of a single track. Many of their original compositions, written by bassist Moppa Elliott, have the outward appearance of overlooked post-bop and bebop gems from the mid-1950s and early 60s.
In performance, however, they are summarily dissected and reassembled, Frankenstein-like. The result is a chaotic and disorienting experience: a bridge might get repeated and extended for several minutes, a simple drum lead-in becomes an in-and-out-of- tempo solo extravaganza, unaccompanied solos seemingly appear out of nowhere and introduce entirely new melodic and harmonic elements. This is music in which literally anything can occur. An no matter how far afield the band might stray, they always land on their feet, swinging their asses off. Add to this Elliott's mock-serious liner notes (written under the pseudonym "Leonardo Featherweight") and album cover shots that poke fun at classic jazz albums as disparate as Keith Jarrett's The Koln Concert (ECM Records, 1975) and Roy Haynes' Out of the Afternoon (Impulse! Records, 1962), and you have-well-a perfect little jazz shitstorm. And this is just what the world needs right now.
Red Hot gleefully extends MOPTDK's musical inquiries to the pre-bop heyday of artists as diverse as Jelly Roll Morton, Count Basie and Lester Young. Fittingly, the ensemble has also been extended to include pianist Ron Stabinsky, multi-plectrist Brandon Seabrook, and the veteran ace studio trombonist David Taylor. Like the founding core quartet, each of these astoundingly accomplished musicians brings a lot to the table: a magical combination of virtuoso chops, lightning-fast instincts, and a bizarre sense of humor. Seabrook seems particularly well-suited to MOPTDK's modus operandi. His incredibly detailed, hyperactive playing style is somewhat reminiscent of Eugene Chadbourne's, and his electronic effects play a major role throughout Red Hot, particularly on the title track and on "Gum Stump." Stabinsky plays it pretty straight until he gets a chance to step out on "King of Prussia," where he quotes Wild Cherry, Cecil Taylor, Joe Jackson, Scott Joplin, and about a half-dozen others in the space of a minute-and-a-half-long solo. Taylor, the elder statesman, is simply a revelation. The front line of Taylor, Jon Irabagon, and Peter Evans is flat-out glorious.
The writing on Red Hot, is thoroughly first-rate. Elliott's intent is clearly to explore pre-bop styles in a contemporary and unsentimental way without mawkishly kowtowing to the work of past masters. For every irreverent aside and wacky solo, there's the glow of new possibilities emerging from still-valid musical styles that many seem content to simply embalm and enshrine in some sort of museum setting. MOPTDK aren't buying it. Elliot's melodies are sharp and memorable, the arrangements are crisp and interesting, and the departures generally lead to very interesting and heretofore unexplored musical terrains. This music evokes pre-bop musical stylings and treats them with the same zeal and gravity as many contemporary artists would deal with, say, a heavy Ornette Coleman or hip-hop influence. "The Shickshinny Shimmy" sandwiches a lovely slab of post-Miles modal modern jazz inside a Kid Ory-like stomp. Kevin Shea's hybridized jazz-metal drumming is particularly effective here, as is Irabagon's snake- charmer soprano saxophone. "Turkey Foot Corner," possibly the most Dada-istic piece on the album, conflates a Freddie Green-like guitar strum with an ICP Orchestra-like pointillistic improv before the tune itself kicks in. "Gum Stump" has a similarly anarchic intro, but coalesces around a slow Dixie-blues drag. On slightly more conventional tip, "Seabrook, Power, Plank" sounds oddly like a heretofore undiscovered Herbie Nichols chart; perfect territory for Shea's Bennink-inspired drums, Irabagon's gruff alto, and Seabrook's insane banjo. Taylor gets a number of features, but shines most brightly on "Zelienople" as he's relentlessly prodded by Shea's edge-of-madness drums.
Red Hot provides a ready answer to anyone wondering when MOPTDK's schtick will get played out. The answer is "not anytime soon." I, for one, am grateful for that.
4,5/5 stars
(Dave Wayne)
In performance, however, they are summarily dissected and reassembled, Frankenstein-like. The result is a chaotic and disorienting experience: a bridge might get repeated and extended for several minutes, a simple drum lead-in becomes an in-and-out-of- tempo solo extravaganza, unaccompanied solos seemingly appear out of nowhere and introduce entirely new melodic and harmonic elements. This is music in which literally anything can occur. An no matter how far afield the band might stray, they always land on their feet, swinging their asses off. Add to this Elliott's mock-serious liner notes (written under the pseudonym "Leonardo Featherweight") and album cover shots that poke fun at classic jazz albums as disparate as Keith Jarrett's The Koln Concert (ECM Records, 1975) and Roy Haynes' Out of the Afternoon (Impulse! Records, 1962), and you have-well-a perfect little jazz shitstorm. And this is just what the world needs right now.
Red Hot gleefully extends MOPTDK's musical inquiries to the pre-bop heyday of artists as diverse as Jelly Roll Morton, Count Basie and Lester Young. Fittingly, the ensemble has also been extended to include pianist Ron Stabinsky, multi-plectrist Brandon Seabrook, and the veteran ace studio trombonist David Taylor. Like the founding core quartet, each of these astoundingly accomplished musicians brings a lot to the table: a magical combination of virtuoso chops, lightning-fast instincts, and a bizarre sense of humor. Seabrook seems particularly well-suited to MOPTDK's modus operandi. His incredibly detailed, hyperactive playing style is somewhat reminiscent of Eugene Chadbourne's, and his electronic effects play a major role throughout Red Hot, particularly on the title track and on "Gum Stump." Stabinsky plays it pretty straight until he gets a chance to step out on "King of Prussia," where he quotes Wild Cherry, Cecil Taylor, Joe Jackson, Scott Joplin, and about a half-dozen others in the space of a minute-and-a-half-long solo. Taylor, the elder statesman, is simply a revelation. The front line of Taylor, Jon Irabagon, and Peter Evans is flat-out glorious.
The writing on Red Hot, is thoroughly first-rate. Elliott's intent is clearly to explore pre-bop styles in a contemporary and unsentimental way without mawkishly kowtowing to the work of past masters. For every irreverent aside and wacky solo, there's the glow of new possibilities emerging from still-valid musical styles that many seem content to simply embalm and enshrine in some sort of museum setting. MOPTDK aren't buying it. Elliot's melodies are sharp and memorable, the arrangements are crisp and interesting, and the departures generally lead to very interesting and heretofore unexplored musical terrains. This music evokes pre-bop musical stylings and treats them with the same zeal and gravity as many contemporary artists would deal with, say, a heavy Ornette Coleman or hip-hop influence. "The Shickshinny Shimmy" sandwiches a lovely slab of post-Miles modal modern jazz inside a Kid Ory-like stomp. Kevin Shea's hybridized jazz-metal drumming is particularly effective here, as is Irabagon's snake- charmer soprano saxophone. "Turkey Foot Corner," possibly the most Dada-istic piece on the album, conflates a Freddie Green-like guitar strum with an ICP Orchestra-like pointillistic improv before the tune itself kicks in. "Gum Stump" has a similarly anarchic intro, but coalesces around a slow Dixie-blues drag. On slightly more conventional tip, "Seabrook, Power, Plank" sounds oddly like a heretofore undiscovered Herbie Nichols chart; perfect territory for Shea's Bennink-inspired drums, Irabagon's gruff alto, and Seabrook's insane banjo. Taylor gets a number of features, but shines most brightly on "Zelienople" as he's relentlessly prodded by Shea's edge-of-madness drums.
Red Hot provides a ready answer to anyone wondering when MOPTDK's schtick will get played out. The answer is "not anytime soon." I, for one, am grateful for that.
4,5/5 stars
(Dave Wayne)
freejazzblog.org
Yes, our heroes are at it again, mock-saluting - and sincerely saluting - every jazz movement in existence and naming songs after Pennsylvania towns. This time the main focus is on the hot jazz of the 1920s, but pretty much every other sub-genre of jazz gets a shout-out. You know the drill. If Woody Allen ever went back to making the kind of comedies he wrote and directed at the beginning of his film career (it would be a self-conscious move of revisionism that would surely suck but), MOPDTK's “Red Hot” would make the perfect soundtrack for them.
Kicking off with “The Shickshinny Shimmy” (Hello PA!), the band moves in and out of the 1920s w/ characteristic speed and smart chops, featuring the super-hot rolling dixieland banjo strum of new member Brandon Seabrook. The standard line-up is also augmented this time around by the magnificent Ron Stabinsky on piano and bass trombone star David Taylor. The in-and-out pattern becomes fully established on “Zelienople,” which opens with a drum solo from the always astonishingly excellent Kevin Shea. The decades crash into each other from 40 years apart, as Shea plays free underneath some good ol' hot jazz. Sonny Murray plays with King Oliver for awhile and then Bill Evans shows up. Then Bill Dixon joins in, courtesy of Peter Evans (who was also King Oliver, of course). How this can seem like par-for-the-course for any band is beyond all logic, but this band calls it home.
The title track begins with electronic gurgles and blasts alternating with Seabrook's banjo. Then the band joins in, full dixieland, full Jelly Roll, full fun. These smart asses take the piss out of the earnest hot jazz revisionist groups so well, but there is a slight feeling of “sore winners” about it. They're running past the other guys at the finish line and giving them the finger and laughing while they do it. I'm not saying I don't approve; I'm just saying that's what it sounds like.
On “King of Prussia” Stabinski does a piano solo mash-up of various pianists / songwriters. Scott Joplin and Joe Jackson stand out pretty obviously. (He does a mean McCoy Tyner during “Orange is the Name of the Town.” This guy can do anybody.) The whole band plays a slow bawdy stomp while Seabrook bows his banjo through a reverb effect, giving the 1920s a touch of 1950s sci-fi. Inexplicably, the track winds up in lounge jazz territory.
Band leader Moppa Elliot takes a bass solo at the beginning of “Turkey Foot Stomp,” which takes on a Foghorn Leghorn vibe as the music traverses through the barnyard carelessly and confidently. The harsh, zero-sustain attack of a banjo lends itself well to the overall landscape, often providing relief when things get a little too self-conscious or serious. On “Seabrook, Power, Plank” this tack goes so far as sounding a bit like Naked City at Dollywood.
Saxophonist Jon Irabagon opens “Gum Stump,” a traditional 12-bar blues (no foolin') with a whole bunch of over-the-top freakouts in it. The 12-bar blues format is held steadily for over five minutes; and then it's back to business as usual. Cross Cab Calloway with Django Reinhardt in a Shakey's Pizza in New Orleans and you get “Bird-In-Hand,” the album's closing track. It also stands as the most concise piece of music on the disc; and in a perfect world it would be a hit single on top forty radio. (Does that still exist?)
Red Hot is an irreverent tribute to 100 years of jazz masquerading as a take-off on 1920s dixieland. It could have only been conceived at this time, where the “jazz wars” between the sub-genres are (finally!) almost non-existent. I can't imagine any other band attempting such an idea, let alone succeeding in its execution and making it seem so effortless.
4,5/5 stars
(Tom Burris)
Kicking off with “The Shickshinny Shimmy” (Hello PA!), the band moves in and out of the 1920s w/ characteristic speed and smart chops, featuring the super-hot rolling dixieland banjo strum of new member Brandon Seabrook. The standard line-up is also augmented this time around by the magnificent Ron Stabinsky on piano and bass trombone star David Taylor. The in-and-out pattern becomes fully established on “Zelienople,” which opens with a drum solo from the always astonishingly excellent Kevin Shea. The decades crash into each other from 40 years apart, as Shea plays free underneath some good ol' hot jazz. Sonny Murray plays with King Oliver for awhile and then Bill Evans shows up. Then Bill Dixon joins in, courtesy of Peter Evans (who was also King Oliver, of course). How this can seem like par-for-the-course for any band is beyond all logic, but this band calls it home.
The title track begins with electronic gurgles and blasts alternating with Seabrook's banjo. Then the band joins in, full dixieland, full Jelly Roll, full fun. These smart asses take the piss out of the earnest hot jazz revisionist groups so well, but there is a slight feeling of “sore winners” about it. They're running past the other guys at the finish line and giving them the finger and laughing while they do it. I'm not saying I don't approve; I'm just saying that's what it sounds like.
On “King of Prussia” Stabinski does a piano solo mash-up of various pianists / songwriters. Scott Joplin and Joe Jackson stand out pretty obviously. (He does a mean McCoy Tyner during “Orange is the Name of the Town.” This guy can do anybody.) The whole band plays a slow bawdy stomp while Seabrook bows his banjo through a reverb effect, giving the 1920s a touch of 1950s sci-fi. Inexplicably, the track winds up in lounge jazz territory.
Band leader Moppa Elliot takes a bass solo at the beginning of “Turkey Foot Stomp,” which takes on a Foghorn Leghorn vibe as the music traverses through the barnyard carelessly and confidently. The harsh, zero-sustain attack of a banjo lends itself well to the overall landscape, often providing relief when things get a little too self-conscious or serious. On “Seabrook, Power, Plank” this tack goes so far as sounding a bit like Naked City at Dollywood.
Saxophonist Jon Irabagon opens “Gum Stump,” a traditional 12-bar blues (no foolin') with a whole bunch of over-the-top freakouts in it. The 12-bar blues format is held steadily for over five minutes; and then it's back to business as usual. Cross Cab Calloway with Django Reinhardt in a Shakey's Pizza in New Orleans and you get “Bird-In-Hand,” the album's closing track. It also stands as the most concise piece of music on the disc; and in a perfect world it would be a hit single on top forty radio. (Does that still exist?)
Red Hot is an irreverent tribute to 100 years of jazz masquerading as a take-off on 1920s dixieland. It could have only been conceived at this time, where the “jazz wars” between the sub-genres are (finally!) almost non-existent. I can't imagine any other band attempting such an idea, let alone succeeding in its execution and making it seem so effortless.
4,5/5 stars
(Tom Burris)
Состав
Peter Evans - trumpet
Jon Irabagon - saxophones
Moppa Elliott - bass
Kevin Shea - drums
Ron Stabinsky - piano
David Taylor - bass trombone
Brandon Seabrook - banjo, electronics
Jon Irabagon - saxophones
Moppa Elliott - bass
Kevin Shea - drums
Ron Stabinsky - piano
David Taylor - bass trombone
Brandon Seabrook - banjo, electronics
Any questions - projazzclub@gmail.com
This album is available on our DC++ hub: dchub://hub.pro-jazz.com:7777
This album is available on our DC++ hub: dchub://hub.pro-jazz.com:7777