If The New York Times calls you “the nation’s most important quartet,” then you must be doing something right… in the case of the JACK Quartet, they’ve established themselves as one of the leaders in new music, giving voice to countless composers, while creating a new body of works that prove classical music has a future far beyond powdered wigs and dusty scores.
Carlo Maria Giulini was born in Barletta, Southern Italy in May 1914 with what appears to have been an instinctive love of music. As the town band rehearsed he could be seen peering through the ironwork of the balcony of his parents’ home, immovable and intent. The itinerant fiddlers who roamed the countryside during the lean years of the First World War also caught his ear. In 1919, the family moved to the South Tyrol, where the five-year-old Carlo asked his parents for "one of those things the street musicians play". Signor Giulini acquired a three-quarter size violin, setting in train a process which would take his son from private lessons with a kindly nun to violin studies with Remy Principe at Rome’s Academy of St Cecilia at the age of 16.
The project was recorded at Echo Mountain Studios in Asheville, NC, produced by Foghorn Stringband’s Caleb Klauder. The guys feel like it captures their many diverse influences, including traditional bluegrass, roots pop, and hard edged honky tonk.
Continuing the twisted pop explorations of Here Come the Warm Jets, Eno's sophomore album, Taking Tiger Mountain (By Strategy), is more subdued and cerebral, and a bit darker when he does cut loose, but it's no less thrilling once the music reveals itself. It's a loose concept album – often inscrutable, but still playful – about espionage, the Chinese Communist revolution, and dream associations, with the more stream-of-consciousness lyrics beginning to resemble the sorts of random connections made in dream states.
Its stick or twist for GoGo Penguin as they release this, their Blue Note debut and the first of a reputed three album deal. Do they push ahead, expanding their palette of electronica seen through the prism of acoustic jazz, or retreat a tad in deference to their new paymasters by emphasising the more traditional jazz elements of their sound. Should we be concerned that the two years since their breakthrough v2.0 album suggest a creative block or difficulty coping with the raised stakes? While they would hardly be the first act to lose their nerve on entering the major label big league, it is thankfully and emphatically not the case here as "Man Made Object" develops and builds on their early promise.
It’s evident within the initial seconds of BPMD’s American Made, as the legendary Bobby Blitz (Overkill) chants the introductory lyrics to Ted Nugent’s “Wang Dang Sweet Poontang” in his signature skyscraper-high howl, that he and his equally iconic bandmates — drummer Mike Portnoy (The Winery Dogs, Sons of Apollo), bassist Mark Menghi (Metal Allegiance) and guitarist Phil Demmel (Vio-lence, ex-Machine Head) — are here to have a damn good time. Featuring 10 unforgettable rock classics reimagined as heavy bangers, American Made is a party on wax. Tracks such as the raucous “Toys in the Attic” (Aerosmith) and rager-ready “Beer Drinkers & Hell Raisers” (ZZ Top) prove that BPMD not only manages to capture the essence of each original track on the album, but skillfully transforms each classic into an unforgettable metallic anthem for a new age. The seasoned quartet flex their musical muscles on renowned classics such as “Saturday Night Special” (Lynyrd Skynyrd), “We’re an American Band” (Grand Funk) and “Walk Away” (James Gang), and introduce a whole new heavy generation to deeper cuts like blues standard “Evil” and “Never In My Life” (Mountain). Channeling nostalgia while maintaining a fresh attitude, American Made is a summer soundtrack for all ages!