M•a Recordings

Originating from a Japanese concert, this CD from M-A teams together pianist Milcho Leviev in duets with superb bassist Dave Holland. The music ranges from variations of standards to more introspective interplay and stimulating originals by the duo. High points include versions of Leviev's "Up and Down" and Holland's challenging and rather exciting "Jumpin' In." Although the bassist has a fair share of solo space, Leviev's command of the keyboard constantly grabs one's attention; he has long been one of Los Angeles' unheralded treasures. This recommended disc concludes (as do all of M-A's discs) with a selection taken from another CD, a fine performance by pianist Todd Garfinkle.

I’m A Harmony, new album from psych-folk legend Linda Perhacs, coming on Omnivore September 22. Produced by Pat Sansone (Wilco/The Autumn Defense), Fernando Perdomo and Linda Perhacs. Guest artists include Chris Price, Devendra Banhart, Pat Sansone & John Stirratt (Wilco/The Autumn Defense), Glenn Kotche & Nels Cline (Wilco), Julia Holter.

Although vintage British psychedelia is viewed by many these days as an Alice In Wonderland-style enchanted garden full of beatific flower children innocently gathering flowers or chasing butterflies, there was always a more visceral element to the scene. Pointedly free of such fripperies as scarlet tunic-wearing gnomes, phenomenal cats and talismanic bicycles, the power trio format that was popularised by the likes of Cream and the Jimi Hendrix Experience spawned a host of imitators. As the Sixties drew to a close and pop evolved slowly but inexorably into rock, psychedelia gave way to a sound that was harder, leaner, heavier, louder.

Although vintage British psychedelia is viewed by many these days as an Alice In Wonderland-style enchanted garden full of beatific flower children innocently gathering flowers or chasing butterflies, there was always a more visceral element to the scene. Pointedly free of such fripperies as scarlet tunic-wearing gnomes, phenomenal cats and talismanic bicycles, the power trio format that was popularised by the likes of Cream and the Jimi Hendrix Experience spawned a host of imitators. As the Sixties drew to a close and pop evolved slowly but inexorably into rock, psychedelia gave way to a sound that was harder, leaner, heavier, louder.

"I first heard Lady In Satin in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn't know much about Billie's records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of "I'm A Fool To Want You" for my album Post-War."

Although vintage British psychedelia is viewed by many these days as an Alice In Wonderland-style enchanted garden full of beatific flower children innocently gathering flowers or chasing butterflies, there was always a more visceral element to the scene. Pointedly free of such fripperies as scarlet tunic-wearing gnomes, phenomenal cats and talismanic bicycles, the power trio format that was popularised by the likes of Cream and the Jimi Hendrix Experience spawned a host of imitators. As the Sixties drew to a close and pop evolved slowly but inexorably into rock, psychedelia gave way to a sound that was harder, leaner, heavier, louder.