Flying Flying Rhythms

Studio Album and Live Album recorded with National Orchestra of Bretagne conducted by Zahia Ziaouni.

Studio Album and Live Album recorded with National Orchestra of Bretagne conducted by Zahia Ziaouni.

Studio Album and Live Album recorded with National Orchestra of Bretagne conducted by Zahia Ziaouni.

Five years after the disappointing The Magazine, Rickie Lee Jones returned to form with Flying Cowboys, which shared much of the playful, childlike charm of her debut, Rickie Lee Jones, and some of the musically diffuse, lyrically ambitious form of its follow-up, Pirates. From the opening track, "The Horses," which suggested a mother's delight with her child as much as a lover's devotion, Jones reintroduced the joyous tone of her early work as well as establishing the Western theme that would run through the album - cowboys, rodeos, horses, deserts - without adding up to an actual storyline. The easy rhythms and lazy, flexible singing on the first few songs were reminiscent of Laura Nyro's work with Labelle on their Gonna Take a Miracle album, after which Jones branched out into reggae and folk-blues, coming up with an affectionate bluesman voice on "Ghost Train"…

Recorded for Polydor, six years after her landmark Joy album, this set features Norwegian jazz iconoclast Karin Krog in the electric company of keyboardist Steve Kuhn, drummer percussionist Jon Christensen, and Steve Swallow on one of his early electric bass dates. More song-oriented than her other vanguard dates, We Could Be Flying still showcases the singer in a restless, searching frame of creativity. Obviously influenced by the work Flora Purim had done with Return to Forever and the heyday of jazz-rock fusion, Krog nonetheless puts her indelible stylistic stamp on all the material here. The best tunes here were written by Kuhn, who seems to understand the subtlest nuances in Krog's performing style, as evidenced by "Meaning of Love," with its driven, wispy Latin rhythms and melodic lines that seem to bleed into one another, capturing the softness of Krog's enunciation…

The Flying Eyes - Lowlands (2013) {Noisolution 101-2}
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© 2013 Noisolution Records | 101-2
Rock / Psychedelic Rock / Stoner Rock / Blues Rock

Gradually rising to the forefront of the current heavy psychedelic/stoner scene, Baltimore-based act, The Flying Eyes have just dropped their second full length. More expansive and heavier than the debut, Lowlands sinks the listener deeper into the band's universe. Offering a wide range of sounds derived from several late '60s and early '70s influences, the record can be found at a crossroad between the acid induced psychedelic blues reminiscent of The Doors, Jefferson Airplane and Cream, along with some Southern rock and, inevitably, traditional Black Sabbath doom riffs. Nevertheless, the chemistry between the band members, resulting in such catchy music and the will to experiment with the sound rather than recycling it, is what sets this above the multitude of average records.

Recorded for Polydor, six years after her landmark Joy album, this set features Norwegian jazz iconoclast Karin Krog in the electric company of keyboardist Steve Kuhn, drummer percussionist Jon Christensen, and Steve Swallow on one of his early electric bass dates. More song-oriented than her other vanguard dates, We Could Be Flying still showcases the singer in a restless, searching frame of creativity. Obviously influenced by the work Flora Purim had done with Return to Forever and the heyday of jazz-rock fusion, Krog nonetheless puts her indelible stylistic stamp on all the material here. The best tunes here were written by Kuhn, who seems to understand the subtlest nuances in Krog's performing style, as evidenced by "Meaning of Love," with its driven, wispy Latin rhythms and melodic lines that seem to bleed into one another, capturing the softness of Krog's enunciation…

Marcus Hildebrandt, alias Driftin’ Thoughts, released his debut CD ‘Secret Dimensions’ in 1997 and received requests for samples of previous “demo tapes”. Hence this CD, which essentially is Hildebrandt’s most important recordings between 1992-1996 and includes a ‘98 remix of ‘Games’. ‘In motion’ starts off the collection promisingly enough, with a nimble descending keyboard line, lush synth pads, added layers of melodies and brisk rock/dance rhythms and sequences. The main theme is bright, optimistic and uptempo and Hildebrandt’s improvisations are tight and convincing. ‘Flying Free’ is slower, more reflective, but still retains a light, airy melodic sensibility. ‘The Intruder’ begins with deceptively ominous low drones, and metallic percussion before the shimmering high register sequences return accompanied this time by dance rhythms and bright techno motifs…