Stephen Grimstead, Editor
Ralph Carney
Ralph Sounds
(Birdman)
What should one expect from an album titled Ralph Sounds? Perhaps
people puking in pitch? Or “The Name Game” played out ad nauseam?
When the Ralph in question creating the sounds is subterranean
saxophone sensation Ralph Carney, you can be certain it won’t
be a dull experience. While not exactly a household name, Carney
proves his worth by delivering unabashed slices of his perspicacious
psyche molded in a shape called Ralph Sounds.
Carney bleated and squonked his way out of Akron, Ohio, in the
late ’70s to become the undisputed “king of the new-wave horn.”
His collaborations range from backing the B-52s to a regular tenure
with scruffy musical vagabond Tom Waits. Until his first solo
project, Ralph Sounds, Carney was featured most prominently as
part of Oranj Sympho-nette in their resonant 1996 recording, Plays
Mancini.
The mainly instrumental Ralph Sounds finds Carney gallivanting
around Polymorph Studios, brandishing a variegated array of unusual
noisemakers, including kitchen percussion, saw, and Tibetan bowl.
Carney’s trademark saxophone screeches are peppered throughout
the recording, but a much-wider palette of vocal and musical miasma
is on display. It’s pretty much a one-man sideshow for the ever-clever
Carney, with intermittent assistance from producer/engineer Mark
Stichman.
The first cut, “Out Of The Bag,” sets the tone for the playful
mayhem ahead. Is it your CD player skipping again or have you
fallen into some psychotic phonetic sonata like infamous Dadaist
Kurt Schwitters’ Ursonate? It takes less than a minute to find
out, as the fun continues with the aptly titled “Dirge,” rendered
in the style of a New Orleans funeral band on crack. Ralph Sounds
forges boldly ahead through a total of 19 separate soundscapes,
like some post-binge ragged-but-right Salvation Army band gone
terribly wrong.
Ever the punster in wordplay and musical quotations, Carney’s
titles betray their contents with a smile – “Lotsaflutes” is self-evident,
as are “Piano Solo #1,” “Alto Solo #1,” and “Alto Solo #2.”
“Peru Boo” emerges as a meditative swirl of panpipes and bamboo
flutes, while “Low Yo-Yo Mama” features a farting free-jazz contrabass
clarinet. The emotional highlight of Ralph Sounds is “Robert Wyatt,”
Carney’s thoughtful tribute to the moody European cult musician
(and former Soft Machine member). Emulating the somber tone of
Wyatt’s moody ’70s masterpiece, Rock Bottom, Carney crafts a loving
lament in honor of the master of multilayered morosity, knowing
full well that only a handful of listeners in the States will
make the connection.
Some would argue that Ralph Sounds isn’t really music, but they’d
be missing the point – the best sounds are found where the creator
is having the most fun, i.e., full improvisation. In his delightful
deconstruction of that hoary Great Depression-era chestnut, “Those
Foolish Things,” Carney creepily croons, “It’s scary now…all the
distortion makes me feel so happy…I really love it.”
For fans of the offbeat and unusual, Carney’s carnival called
Ralph Sounds is one fully worth the price of admission.
– David D. Duncan
Hank Jones
Master Class
(32 Jazz)
Favors
(Verve)
Veteran pianist Jones is one of those virtuosos who seem to always
be just a bit out of the “big jazz stars” spotlight, yet have
built a solid, consistent catalog of excellent recordings. Master
Class is a reissue of two late-’70s albums and Favors is his newest.
Both are consistently rewarding.
Master Class is part of 32 Jazz’s new series of reissues of music
originally released on the Muse label. This disc features two
outstanding bop albums, 1977’s ’Bop Redux and Groovin’ High from
1978. ’Bop Redux is a trio date of Monk and Charlie Parker tunes.
Jones is joined by bassist George Duvivier and drummer Ben Riley
– a stellar duo with impeccable bop credentials (Riley played
with Monk, and Duvivier with Bud Powell). Jones proves himself
to be a master of the bop idiom, interspersing percussive chords
and supple runs with finesse, coolly keeping things interesting
with great timing and a gift for playing the pleasantly unexpected.
Groovin’ High is a quintet date, again with well-executed bop
standards. Monk’s longtime saxophonist Charlie Rouse and cornetist
Thad Jones clip through the horn charts with great harmonies and
precise, clearly stated solos. (Thad and Hank are two of jazz’s
great Jones brothers – the third being Elvin, Coltrane’s legendary
drummer). Hank tones down his keyboard pyrotechnics a bit, sharing
the lead roles with Thad and Rouse, making for a great group outing.
Favors is a softly swinging trio date featuring Dennis Mackrel
on drums and the remarkable Czech bassist George Mraz. Recorded
live in Japan, this gig features the Wind Ensemble of the Osaka
College of Music on five cuts. Jones swings through standards
here, his playing crisp and fluid, while Mraz steps up to take
both lead and rhythm roles. His bass work shows his growing mastery
of the instrument as he shines on a number of well-constructed
solos that merge perfectly within each song’s flow. Everything
works on this pleasant effort. – Gene Hyde
Horace Silver
A Prescription For The Blues
(Impulse!)
Horace Silver is a man with a plan: He’s out to cure your blues.
Check out his photo on the cover, sporting spiffy apothecary garb
with a nifty “Dr. Jazz” name tag. His prescription takes effect
as soon as you plunge into this swinging, infectious disc. Soon
your toes are tapping and your face is smiling.
Backed by bassist Ron Carter and drummer Louis Hayes, Silver
pumps out propulsive chords to drive the up-tempo numbers. The
title track cooks along in a hot little groove, while “Free at
Last” echoes the bluesy, Latin-tinged bop that’s Silver’s longtime
trademark. Things slow down a bit on “Brother John and Brother
Gene,” a beautiful ballad written for Silver’s departed brothers.
Speaking of brothers, the horn section features hornmeisters Michael
and Randy Brecker. They layer crisp harmonies on top of the rhythm
and consistently kick in some extremely tasty solos. Silver’s
songwriting and playing have inspired this all-star lineup, making
this fun, well-played outing a sure antidote for what ails you.
– G.H.