Web The Sound There (2020)

The hunting horn evolved in the seventeenth century as an accessory to a popular leisure activity for the aristocracy—the hunt. Its purpose during the chase was to signal unfolding events to people walking behind the mounted huntsmen; it was designed to be loud enough to project over considerable distance and over the barking of hunting hounds. From this rustic beginning, the horn underwent a remarkable process of taming and refinement over a few decades to become capable of being the featured musical instrument of chamber works in the eighteenth century, such as those recorded here. The music may still retain occasional references to its outdoor heritage in brief fanfares and hunting rhythms, but horn players achieved an ability to blend and balance with small groups of string instruments, harpsichord and woodwinds, with an emphasis on sweetness of tone, phrasing and articulation that would have been unanticipated a generation or so earlier.

On every label there are records that can be called landmarks and that's what we have here, a magnum opus by the late great master Muhal Richard Abrams. Some years before his death he received a commission from Bobby Zankel and his Warriors of the Wonderful Sound to write new big band music for this Philadelphian ensemble. He composed the 70 pages and 16 parts of “Soundpath” and attended the first rehearsals. It premiered in 2012 but only in 2018 – some months after Abrams passed away – a second opportunity to present it publically was possible, during the October Revolution festival. Some adaptations were made: Zankel invited Marty Ehrlich (who worked closely with Muhal) as the conductor and some extra instrumentalists familiar with the master’s musical visions were added. The concert received a second standing ovation and the 17 musicians went to the studio the next day. This is the resulting document that makes us all incredibly proud.

In a world turned upside down, The Secret Machines are back, and looking for light in the chaos. Awake In the Brain Chamber, the band’s fourth LP and first recorded output in more than ten years, is the sound of things falling apart, with the hope of dawn touching the horizon. If there is a crack in everything, Curtis and Garza are more interested in the light coming in. Curtis’ darkly prophetic lyrics speak of isolation and fear, while Garza’s frenetic, pounding drum beats sound of the four horsemen. But just when things look their worst, the Machines’ beautifully ethereal space-rock takes us away to a different, safe destination: A place with angels, where dreaming is alright, and life blooms from a new disaster.

As the debut recording of an ensemble rooted in deep and abiding friendships The Daily Biological is a creatively roiling conversation. The unusual trio of drums (Chad Taylor), saxophone (Brian Settles) and piano (Neil Podgurski) creates tough and engaging music that unfurls in kinetic conversational bursts.

Overseen by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister, Joe Travers, The Mothers 1970 collects together more than four hours of previously unreleased performances by the heralded line-up which lasted roughly seven months: Aynsley Dunbar (drums), George Duke (piano/keys/trombone), Ian Underwood (organ/keys/guitar), Jeff Simmons (bass/vocals) and Flo & Eddie aka Howard Kaylan (vocals) and Mark Volman (vocals/percussion) of The Turtles who performed under the aliases to skirt contractual limitations of performing under their own names. This iteration of The Mothers, which likely began rehearsals fifty years ago this month, came to an end in January of 1971 when Simmons quit the band during the making of the 200 Motels movie.