Jackie McLean On Mars

             John Coltrane with Jackie Mclean, Van Gelder Studio, Hackensack, NJ 1957. By Esmond Edwards


This is a very inspiring documentary on one of my favorite Jazz musicians. Good tunes and really positive dialog from a master of his craft. If you're unfamiliar, check out my review of one of the best records ever made, right HERE.


Jackie McLean on Mars from Ken Levis on Vimeo.

King Tubby Presents: Niney the Observer - Dubbing with the Observer (Attack, 1975 / Greensleeves, 2014)

If you're like me, every time there is an Osbourne Rudduck reissue, your reaction is "yeah yeah yada yada, more of the same". Well, give this one a shot. It's a nice mix of all the nuances that make his work so important. There are many moods and tempos represented here.

Originally released on the Attack label in England in 1975, and reissued by Greensleeves a few months back, this stand-alone dub album features heavy and stark one-drop rhythms as well as some bouncy Bunny Lee. Most of the tracks are from songs by Dennis Brown. This is a fun one. Atonal dissonance in parts, some really uptempo joints and even a killer tom-based funk jam. It's quite refreshing. This is definitely going to be a staple of my summer repertoire.

BASS: Fully Fullwood, Flabba Holt,Familyman Barrett
DRUMS: Santa Davis, Carlton Barrett
GUITAR: Chinna Smith, Tony Smith, Bingy Bunny
LEAD GUITAR: Hux Brown
KEYBOARDS: Keith Sterling, Gladdy Anderson
HORNS: Bobby Ellis, Tommy McCook, Vin Gordon
PERCUSSION: Skully Production for Niney The Observer - Dubbing With The Observer
PRODUCED BY: Niney
RECORDED AT: Dynamic, Channel One, Federal, Randys, Joe Gibbs, Harry J
MIXED BY: King Tubby

HTRK - Psychic 9-5 Club (Ghostly International, 2014)

So I'm a longtime fan of this band. I adore them. I can't praise them enough except to say that their new record exceeds my expectations. The aesthetic hasn't changed much but the drum programming and overall recording techniques have drastically improved. This is a seductive, sensual, and gnarly record of bass, synth, guitar and beats, mixed with equal parts heartache and longing. I absolutely love it.

You can read my review of a previous album as well as my in depth description of them HERE  and stream a playlist of this record here:

Murmur - S/T (Season of Mist, 2014)

Chicago metal band Murmur has returned with an eponymous sophomore effort that is nothing less than brilliant. To be honest, it took me off guard. The diversity of styles is overwhelming, the playing is loose yet polished, and the theme shows a great deal of growth and maturity.

This could be a tricky one for those of you that find the avant garde aesthetic a bit much to handle. The record begins with a wash of ambient free improvisation, launches into a traditional blast beat, then cycles through experimental waves of progressive (yes, King Crimson), 80's, tribal polyrhythms, acoustic, noise, jazz, and post-rock. They even break down a 70's hard rock ballad. Vocals are blackened, occasionally clean melodic harmonies, and some atonal rants, although the bulk of the album is instrumental.

What strikes me is that even though packing all of this into the same recording sounds as if it would be too busy and math rock'ish, it is not. Murmur's delivery still feels casual and uncomplicated. Most notably, this may be the most interesting metal drummer I've heard in years. At times, due to his style, it's easy to forget this is a metal record at all.

I must admit, I've never been much on prog, yet my heightened sensitivity levels came through unscathed.
This feels more like a lush and fantastic voyage through a faraway--Wait... I think the prog elements just drugged me.

Kuedo - Severant (Planet Mu, 2011)

I really don't know how I missed this one until today. When it came out in 2011, I was obsessing over Daniel Lopatin's research into obscure 80's new age and computer music videos on his Sunset Corps Youtube Channel. His own sample based music, Oneohtrix Point Never, is currently my favorite art project. The nostalgia and sensory overload of my own childhood memories are tapped into each time I listen to his material. It causes a flood of near synesthesia. One that I welcome whole-heartedly.

Kuedo, which naturally makes me think of Kodo, has a similar aesthetic but is driving and is an IDM of sorts. Its as if Vangelis is making experimental trap, synth house and future garage. In fact, Kuedo even samples from the Bladerunner soundtrack. There is nothing special or innovative here, but if you grew up in the 80's, were a fan of any new age at the time, and are into contemporary UK dance music, I guarantee you'll dig this.