One Track Mind: Mike Keneally "Draconian Blump" (1999)

by Pico

Mike Keneally is one of those quirky, super-talented guitarists who can be creative in just about any setting. Part of a line of Frank Zappa inspired axe men that includes the likes of Buckethead, the late Shawn Lane and Steve Vai, Keneally also excels on keyboards and percussion...and even sings.

His instrumental Nonkertompf album of 1999 is a real jerky, hit-or-miss affair. Out of a true grab bag of spontaneous, wildly varying ideas--"songs" makes it sound too well-formed--comes a track that's highly reminiscent of Miles' In A Silent Way-era experimentations. More to the point, it sounds like a dry run version of "Shh/Peaceful".

It's more amazing when you consider that this wasn't a bunch of seasoned musicians getting together to bounce ideas off each other; Keneally played all the instruments and dubbed them together. While Mike is better known as a shredder (he was the stunt guitarist for Zappa after Vai), his guitar here is pure pre-Mahavishnu John McLaughlin. Not even Johnny Mac himself plays such incisive guitar like that anymore and it's a pity.

It ends all too abruptly at four minutes; you wouldn't expect Davis' trumpet to enter for another six or seven minutes.

Listen: Mike Keneally "Draconian Blump"

Purchase: Mike Keneally Nonkertompf


"One Track Mind" is a more-or-less weekly drool over a single song selected on a whim and a short thesis on why you should be drooling over it, too.

Forgotten series: Otis Spann, "Last Call" (1970)

NICK DERISO: Recorded in 1970, this remarkable lost classic was not released until 2000 -- because the tapes were thought to have been destroyed ... until they were found in a warehouse in 1999.

Done just three weeks before Spann's death from liver cancer, Muddy Waters' most sympathetic pianist is featured primarily with his wife's fiery vocals (Spann was too weak to join in). Well studied and rightly revered by any good blues fan, this is a final glimpse into his genius, if only in patches.

Nick's Picks: His tinkling through Big Joe Turner's "Chains of Love," charging through "Stomp with Spann" and the sweet lowdown love of "My Baby (Sweet as an Apple)." Each more than makes up for the disappointments of the rather staid Muddy covers -- which feature, by the way, Luther Johnson, another ex-Waters sideman.

Grand Entrances: Five Fantastic Debut Albums of Jazz

by Pico

A while back we looked at some of jazz's most notable swan songs, a short, but certainly not complete list of the best last recordings of some jazz greats. So, what about some of the best beginnings? Here I will list five of what I'd consider some of the finest debut albums in jazz. As before, this isn't a definitive list even in my book; I may very well crank out a "part 2" later on as I've since thought of more while I wrote this. But to get the discussion going, here are the first five that came from the top of my head, in chronological order of original release:

1) Herbie Hancock Takin' Off (1962)
Of the artists spotlighted in this list, none has had a longer and more varied career than Herbie Hancock. He's gone from progressive bop to space fusion to jazz-funk to hip-hop to standards and goes back to straight-ahead jazz whenever the mood strikes him. His current release Possibilities is a pairing with a different vocalist on each track. Forty-five years as a leader and he is still trying out new formats.

But his first release, out when JFK was president, was a very fine artifact of vintage Blue Note hard bop. Preceding his long stint with Miles Davis by a couple of years, Herbie was already fully formed as a funky but cerebral jazz pianist with a classical background, and as a composer. While the lead-off tune "Watermelon Man" has found its way into many a copybook, the rest of the originals are likewise versatile, interesting and catchy. The horn section was none other than Dexter Gordon and Freddie Hubbard, two legends at their peaks. Hancock made better records after this one, but frankly, none are more enjoyable to listen to.

2) Joe Henderson Page One (1963)
Speaking of Blue Note, it was only one year later when the record label unveiled another young talent to the jazz world and like Hancock, entered the scene with a unique, fully developed technique. Tenor saxophonist Joe Henderson was never known as a major composer like Herbie, but "Recorda Me" was a worthy addition to the jazz canon and Kenny Dorham's monster tune "Blue Bossa" bows here as well. The strong set of songs are amply supported by Henderson's trademark inside-outside style and bolstered by notable sidemen like Dorham and McCoy Tyner; Page One was a can't-lose proposition that still remains Joe's best out of a widely renowned discography.

3) Bobby Hutcherson Dialogue (1965)
This debut has the distinction of being linked to another jazz great's swan song. A year earlier, Bobby Hutcherson contributed his vibraphone to Eric Dolphy's famous whack jazz masterpiece Out To Lunch. During his time with Dolphy, Hutcherson learned from his mentor to approach music with an open mind and not let conventions restrict his ability to express himself musically. He applied these principles the first chance he got to record as a leader. Dialogue was impressive first statement, especially coming from an instrument not previously associated with such progressive sounding jazz. If this had come from a saxophonist, it might have been put in the same company as some of Coltrane's groundbreaking sixties albums. Hutcherson didn't write any music for his debut; he left that chore in the very capable hands of Andrew Hill and Joe Chambers. Nevertheless, he changed people's perception of the vibraphone and proved to be an improviser and leader of the highest order. And he proved it the first time out.

4) David Holland Conference Of The Birds (1973)
Another Davis sideman, except that British double-bassist Dave Holland waited until after his stint with the master before recording as a leader. What he began his career with as a leader had a lot more in common with Ornette than Miles, however, as Conference Of The Birds is very harmolodically inclined. Holland dispensed with chordal instruments and made his two star sax players Anthony Braxton and Sam Rivers play with, around and against each other, which they do so brilliantly on "Four Winds." Holland's astonishing finger speed is on display in the unhinged "Interception." And there in the center of the proceedings is the lovely, waltzing (but not a waltz) title song, providing an oasis of tranquility amidst the controlled chaos of the rest of the album. Conference Of The Birds gave the fledgling ECM label a lot of cred among fans of challenging, unconventional jazz. It also helped to establish Holland as one of the most creative acoustic bass players to lead a band, a distinction he enjoys to this day.

5) Wynton Marsalis Wynton Marsalis (1981)
Just when straight-up jazz was at it's absolute nadir, with many declaring the genre dead, a nineteen year old trumpter out of the birthplace of jazz comes to the rescue. There's nothing groundbreaking here, but to make that a criticism misses the point entirely. This is well-played jazz performed alternately by the best of two generations of backing players; a sort of baton hand-off, so to speak. Marsalis was not only a Young Lion who enthusiastically embraced the jazz of his elders but with his technically superb joyful swing, he introduced the "sound of surprise" to new generations and simply put, kept the music alive. Even though later albums would become more adorned as he became increasingly interested in going further back in time instead of using his immense skills to push the music forward, Wynton's reaffirming debut alone assures his place in jazz history. I might get on his case about disappointing later efforts like, say, The Magic Hour, but God Bless Wynton Marsalis. He came through big time when jazz needed him in the worst way.

Heidi McCurdy, "Fickle Mind" (2006)

by Pico

Out of the vibrant music community of greater Vancouver, British Columbia, the same scene that gave the world Diana Krall and Sarah McLachlan, is another female vocalist who's been influenced by both but has forged a style of her own. And unlike the other two, she is waiting to be discovered. Her name: Heidi McCurdy.

Heidi is a talented singer-songwriter, but behind that broad categorization, there are a lot of nuances. As a singer, Heidi possesses a sultry, soulful voice that is more than capable of turning to coy and playful when the situation requires. Heidi's learning path has combined formal training with self-teaching and she now trains others to sing. She knows how to hit the notes right, phrases wisely and never over-emotes. She's not trying to hit you over the head with vocal histrionics like a few of those pop divas out there; her voice is an instrument meant to sooth and seduce you in moderation.

Her songwriting draws upon a surprisingly broad palette of influences with which she paints an aural picture. Lyrically, she sticks with tried and true romantic themes and often renders it in the context of clever wordplay; it didn't hurt that she holds BFA in Creative Writing. Listening to her music, you hear her inspiration coming from artists as diverse as Stevie Wonder, The Police, Bonnie Raitt, Erykah Badu, India Arie and Bjork. Sometimes she sounds like a present-day Laura Nyro to me. Overall, her music appeals to fans of adult contemporary, jazz-pop and neo-soul.

While making living performing diverse tasks such as teaching singing for the last 4 years, juggling single parenting and school and tutoring kids with dyslexia for a number of years, Heidi slowly built up her repertoire of originals. Over a period covering nine years, Heidi laid down ten tracks of her own compositions. Finally, about a year ago she compiled these tracks and released them on a self-distributed CD, entitled Fickle Mind.

Perhaps cobbling together an album this way means there isn't a common theme that you get with an album that's all recorded at once. But listeners do get tracks with distinct personalities and completely thought out ideas in the bargain. I could use the fine wine analogy, but I think you get the idea.

What is common throughout this collection, however, are thick harmonies, a gently melodic groove and sharp, never over-done production. All of which Heidi herself has had a big hand in creating. Indeed, no demo quality stuff here.

Here is how Fickle Mind breaks down:

"Wonderland Jam," a nod to major influence Stevie Wonder, is a fun, multi-layered, wordless vocal exercise set to a hip-hop beat. This track is also 100% Heidi--conceived by her spontaneously--and shows off her abilities as a studio programmer and mixer. Since the central attraction of this show is her voice, it's only appropriate that the album ends the same way with a reprise.

"Fickle Mind" is propelled by a bass-lead groove and Heidi's confident vocals, and a nice short break provided by Rob Hamilton's jazz guitar.

"Round the Bend" marries a traditional Irish melody and Kate Bush sensibility to a contemporary, mid-tempo beat.

"Planet of You" is my personal favorite. It begins with a chord progression that reminds me strongly of the intro of Steely Dan's "Deacon Blues," followed by a snappy groove and a jazzy melody that further strengthen the connection with The Dan, or Bonnie Raitt in one of her more r&b-ish moods.

"She Laughs Freely" also evokes Kate Bush as well as fellow Vancouverite McLachlan. It's boasts passionate mood and a deep, spiritual melody.

"Play My Game," inspired by the artist watching her first hockey game, provides a perfect platform for her to launch into some of her clever metaphors, set against a sublime mix of bossa nova and Middle-Eastern influences. With it's acoustic guitar-driven melody it wouldn't be out of place at all on an India Arie record.

On "Placebo," Heidi turns up the funk dial with a Erykah Badu vibe, which continues on with "Last Night," a fine example of Heidi's ability to layer her vocals over the beat just right.

"Looking Forward" works because it's a minimally arranged tune with a Spanish flavor and a fascinating bridge. This track was so well recorded, I often forget that it was performed live!

Some of these tracks have gotten some good notice and acclaim. "Fickle Mind" won a songwriting competition, while "Placebo" earned honorable mention in another one. Heidi's been quite a hit on emerging artists site Garageband.com, where some of these tracks garnered her multiple "track of the day", "track of the week" and other kinds of popularly awarded honors.

If you are fortunate enough to catch the Canadian sitcom "Robson Arms" on TV, that's her rendition of "These Boots Are Made For Walking" that has been playing on it the last couple of episodes. "Play My Game" is scheduled to get some airplay on an upcoming episode in the coming months.

There's more about Heidi McCurdy and her music than what I can fit into this space; for the curious, there's always her informative website. For those looking for mature, modern adult contemporary music, this could very well be the best artist they never heard of. For those record labels paying lip service to signing artistry and craft over disposable, bubblegum pop, here is your chance to put your money where your mouth is.

Track listing, with mp3 samples:

1. Wonderland Jam

2. Fickle Mind

3. Round The Bend

4. Planet Of You

5. She Laughs Freely

6. Play My Game

7. Placebo

8. Last Night

9. Looking Forward (live)

10. Wonderland Jam (reprise)

Did I get you on the bandwagon? You can order her CD here.

Sleeper picks: Johnnie Johnson, "Blue Hand Johnnie" (1987)

NICK DERISO: Every legend has at least one sideman who made him great. Count among them Johnnie Johnson, the sleeper pick's sleeper.

See, you've been listening to him for years, as the barreling bar-room pianist in those old Chuck Berry records.

Do yourself a favor, if you love that early rockin'-88 style of pop music: Pick up this release on Evidence, which was Johnson's first as a band leader. (He died in July 2005.)

Johnson and Berry worked together on several seminal hits, including "Maybelline" -- and the blues B-Side "Wee Wee Hours" -- in a collaboration that lasted in the studio and on the road through 1973.

So, yeah, most folks probably bought "Blue Hand Johnnie" because of Berry. You'll stay, however, to hear how it plays out because of Johnson's easy-rolling blues genius. Ironically, his take on "Johnny B. Goode" -- which Johnson clearly had a good bit of influence on -- is one of the weaker tracks.

Later, Johnson sued for credit on several other tunes, including "No Particular Place To Go", "Sweet Little Sixteen" and "Roll Over Beethoven." He was inducted into the Rock and Roll Hall of Fame in 2001.

Nick's Picks: "Johnnie's Boogie," Fats Washington's "O.J. Blues" and "Black Nights" -- along with what may be my favorite version of "See See Rider" ... and that's saying something.

Listening again reminded me of this story: Johnson was known to be as passionate about alcohol as he was the keyboard. But, Berry recalls in his autobiography declaring that there would be no drinking in the car while the band was on tour. Johnson complied with the request ... by putting his head out the window.

Machine & the Synergetic Nuts Leap Second Neutral (2005)

by Pico

"Machine & the Synergetic Nuts". What kind of music does that band moniker conjure up in your mind? New wave? Neo-prog? Goth metal? Vintage psychedelic rock?

How about avant jazz-rock? At least that's the closest I can come to describing this compelling instrumental music.

This isn't the first time this space was used to pimp an album that was off the beaten path jazz, from Japan, and released in 2005. Nope, Otomo Yoshihide took that prize. But Otomo is well off that path. In contrast, withering sonic assaults are not central to Machine & the Synergetic Nuts' game plan. That's not to say that there isn't anything fascinating going on, however, on Machine & The Synergetic Nuts' first and only stateside release, Leap Second Neutral.

If you need touchstones, instrumental progressive rock outfits like The Soft Machine, Don Cabellero and that movie soundtrack supergroup Tuatara come to mind. Other times one can hear echoes of aggressive jazz combos like The Bad Plus. And those horn charts give off impressions of those Scandinavian new fusion stylists, Jaga Jazzist.

Which is to say, the Nuts remind me of many others but sound like nobody else.

As to their history or background...there's nothing to pass along, actually. They've seem to have come out of nowhere. They haven't, of course, but while the picture suggests youth, the music hints of much woodshedding.

This is a band that takes a lot of chances, but they're always carefully considered ones. They change the modulations and time signatures frequently, but rarely in a disruptive way. When guitarist Matsue Jun turns up his amp and everyone gets worked up into a frenzy, they're apt to quickly back off before it gets annoying and move on to the next section. The saxes provided by a dude only identified as "Mahi Mahi" takes just enough edge off the sound when they're feeling frisky, anyway. And there's no overly long solos here; everyone has their turn (and sometimes simultaneously), but it's usually in bite size pieces. After all, another unexpected turn in the melody might be just around the corner.

The interplay of these guys is much better than average. Their keyboardist Iwata Noriya prefers the more timeless weapons of choice like piano, Fender Rhodes and organ, and the band as a whole stays away from trendy sampling and hip hop beats. This record doesn't sound as if it's got a short shelf life.

In short, there's a lot of interesting details that reward close listening, but even casual listening is rewarded.

Take the initial track "M-B" for instance. It starts off sounding like background music for a B-grade early seventies detective film, gradually building up in intensity until suddenly giving way to a piano-led melodic interlude and the song resumes it's prior intensity on a different time signature and key. Mahi Mahi, sounding a lot like Elton Dean, enters the picture and gradually, the tempo builds up some considerable intensity before returning to the piano interlude. Somehow, this insanity works while sounding quite agreeable. And that's just the first song.

"Monaco" is a short, frenetic piece with a walking bassline. "Trout" again employs an odd signature over which Noriya's piano and Fender Rhodes plays. Both "Neutral" and "Stum" combines a James Brown inspired groove with some deft improvisions. "Oz" continues that trend, but ends with a cleverly circular chord progression.

"Solid Box" is perhaps the hardest rocking of the batch, with a massively heavy organ making a simple but imposing Jon Lord riff. "Texas" (not the the Chris Rea song) is where the lads come closest to getting unhinged, with a rapidly repeated form dominating the melody and little change-ups this time. A mellotron appearing near the climatic end adds more vintage prog rock to the stew. "Normal" is built around a nimble rock bass line and eventually segues into a brief reprise of "M-B", bringing the album full circle.

So if you're hunting for sounds that are vaguely familiar but fresh, raw, challenging and sophisticated, Machine & The Synergetic Nuts might be worth checking out. For music that's hard to describe, it's very easy to recommend.

Purchase: Machine & the Synergetic Nuts Leap Second Neutral

Forgotten series: Count Basie, "Kansas City 3: For the Second Time" (1975)

NICK DERISO: Those looking to get a groove going inside Count Basie's sprawling, soul-deep catalogue should start with his 1970s stuff -- where, more often than not, you find Basie in accessible, small-group settings.

My favorite is "Count Basie and the Kansas City 3: For the Second Time," a 1975 recording that was reissued in 2006. Modern listeners will immediately connect with a session that also features bassist Ray Brown and drummer Louis Bellson.

The reason is deceptive simple: This album (along with 1974's "For the First Time") addresses one of the blind spots in the Basie legacy -- that such a brilliant blues pianist was so rarely heard front and center. (And it sets up the thundering large-band return of "Montreux '77," an impressive late entry, quite nicely as well.)

Nick's Picks: "Draw," "On the Sunny Side of the Street." Concise coloration, cool calibration, sweet swinging. That's Basie for you -- and perhaps never more so than in this particular trio situation.