Oh No

The Ed Palermo Big Band - Oh No! Not Jazz!! (2014) {2CD Set Cuneiform Records} (Frank Zappa related)
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© 2014 Cuneiform Records / Ed Palermo | Rune 380/81
Jazz / Modern Jazz / Modern Big Band / Jazz Rock

The Ed Palermo Big Band is led by alto saxist and arranger Ed Palermo; he has had this big band with much of the same personnel for over 30 years, which is an impressive feat in itself, and has had his band performing the music of Frank Zappa for 20 years. There are a number of ensembles performing the music of Frank Zappa, who is now recognized as one of the great 20th century American composers, but no one does it with this ease, skill and originality! The band is a 18 piece ensemble of five woodwind players, four trumpeters, three trombonists, two keyboardists, guitar, violin, bass and drum. All of these musicians are NYC professionals, and they have been playing this music for years with Ed, because, like Ed, they recognize and appreciate the genius inherent in the huge body of Zappa's work, and they want to keep this great music alive and in front of the public. OH NO! NOT JAZZ!! consists of two discs: The first disc further explores Ed's distinctive, big band interpretations of the music of Frank Zappa, while the second disc features Ed's own, colorful compositions.

Xiu Xiu makes beautiful music for hard times. For nearly 20 years, the band has a track record of crafting experimental music for moments when life’s harsh realities meet its existential mysteries. On the latest album, Jamie Stewart explores a recent revelation and is reminded of the power of the band’s music to surprise and connect. Listening to the songs on Oh No, it is hard to feel truly alone. Instead, it is a reminder that even when we’re alone, we’re alone together.

The title of this CD is accurate, as this live date – recorded at Washington D.C.'s Adam's Rib on April 27, 1984 (but not released for the first time until 21 years later) – is full of explosive fire. The legendary Danny Gatton and Tom Principato had complementary guitar styles, open to jazz, electric blues, and country. With stimulating backup from keyboardist Mike Sucher (who often achieves the sound of an organ), bassist John Previti, and drummer Robbie Magruder, the two guitarists dig into blues, passionate pop/rock, and even "Harlem Nocturne" (a feature for Gatton), all of it having the spirit of adventurous jazz. While Principato has four vocals along the way, the emphasis is very much on the guitarists, who are at their best when they are interacting with each other. This is consistently exciting music.

World-famous and original piano works spanning 250 years of piano writing from Bach to Pärt gain aesthetic presence in Jimin Oh-Havenith’s sensitive interpretations.

Jimin Oh-Havenith’s fourth album for audite is dedicated to distinctive masterpieces of Russian piano music, including Mussorgsky’s Pictures at an Exhibition and a selection of etudes and preludes by Scriabin and Rachmaninov.

Hugely positive and sometimes crushingly sentimental, Germany's Mark 'Oh (Marko Albrecht) is part of a long line of German musicians who threw down the mantle of rock amateurism in order to embrace his country's post-rave mainstream dance. After disbanding his first guitar outfit, Line Up, 'Oh began as a DJ in 1990 and worked his way up to production with the 1993 limited release of "Randy – Never Stop That Feeling," a cheery, helium-sampled single that found its way to the top of Germany's charts for half a year after its re-release. Subsequent singles furthered 'Oh's light Super Mario Brothers trance style and his three albums – 1995's Never Stop That Feeling, 1996's Magic Power, and 1999's Rebirth – showed an increase in guest appearances and unusual covers, such as reworkings of Visage's "Fade to Grey" and Nick Kamen's "I Promised Myself." A premature Best Of collection was released in 2001.

Somewhere amongst the 80 head-splitting, vibe-chasing, cosmically grimy minutes of the Oh Sees’ 20-somethingth album, one might begin to wonder if chief Oh See John Dwyer will ever run out of steam. More than two decades into the band’s career, they—Dwyer and his rotating cast—still manage to find new wheat to harvest from the fields of Classic American Freakouts, from bite-sized thrash (“Heartworm,” “Gholü”) to multi-part suites of drug-den soul (the 15-minute “Scutum & Scorpius,” the 21-minute “Henchlock”) tailored to weirdos of all hair lengths. Behold a vision in which punk and prog didn’t just coexist, but spawned. Fun? Menacingly. Evil? Studiously.

Yep that's right, Johnny Dwyer and his crew have returned, losing an 'H' on the way but dropping yet another impossibly amazing slice of intergalactic psychedelic fun for all. It's easy to think it's yet another album from this crew but believe us when we tell you - this one's a fucking belter! You've probably heard the hooky as hell 'Dreary Nonsense' by now in all it's one minute thirty five second glory but this lil' puppy's got a whole load more to give. Thirteen magic moments here - from the noisy as hell 'Scramble Suit II' to the rock hell of 'Red Study' via the krautrock rumbling 'Wing Run' to the slinky, sexy disco of 'Said The Shovel' this could easily be their most forward thinking / make every other band give up album yet. Thirty nine minutes is all you need. We love these boys. They rule.

"As a piece from an opera" was the intention of the Protestant theologian and poet Erdmann Neumeister (1671-1756) in his Geistliche Cantaten (Sacred Cantatas), which he first published in 1702. No wonder that several composers of sacred music jumped at the chance to use his texts to fulfil their duties. The varied structure of the poetry, some of which rhymes quite drastically, lends itself well to musical settings, in which recitatives, arias, choruses and chorales alternate quite easily. As such, devout congregations could be presented with theological subjects in a non-ascetic manner.