Kaleo Surface Sounds

Dean De Benedictis, aka Surface 10, is a Southern California based composer/producer/conceptual artist and electronic music renegade. He melds his interests in a variety of musical styles and concepts ranging from experimental electronica to ambient, IDM to progressive jazz, and beyond, in order to produce a very distinctive sound.
"B2 Gigacosm" kicks off this Surface 10 album with one of the most awesome and breath-taking amalgams of electronic music styles, containing a huge ambient background overlaid with intricate rhythmic beats and a beautiful, soaring, treated violin solo. Indeed Dean brings a great range of influences to the melting pot in the 11 tracks that make up "Surface Tensions"…

Dean De Benedictis, aka Surface 10, is a Southern California based composer/producer/performer/conceptual artist and electronic music pioneer. He utilizes his interests in a variety of musical styles and concepts ranging from experimental electronica to ambient, IDM to progressive jazz and beyond. "In Vitro Tide" is a re-edited mesh of musical materials Dean had recorded since the time of his first release in 96. It is a sentiment of timelessness filtered through a series of experimental approaches. As an edition to the electronic music world, "In Vitro Tide" epitomizes the mystery of existence through technology. Surface 10 is nothing less than a pulsing, wreckless tour de force of spiky, punchy beats welded and fused with white noise, grunge guitar, dislocated voices and a swaggering disregard for somnolent sine wave culture that permeates much of todays Electronica.

An appropriate title for an utterly charming set from the Three Sounds. The trio works familiar territory on Feelin' Good, playing a set of swinging hard bop and classy soul-jazz, but there's a definite spark in the air. Working from a diverse set of standards, originals, contemporary jazz, and blues, the Three Sounds created a cheerful, up-tempo record. Its very ease is deceptive - the music is so accessible and entertaining, it's easy to overlook the sheer musical mastery of the group, which performs at something of a peak on this record. Gene Harris sounds better than ever, turning in an elegant interpretation of "It Could Happen to You," but he's just as able to inject "When I Fall in Love" with unexpectedly vigorous swing and make Monk's "Straight No Chaser" a foot-tapping, danceable delight…

The Three Sounds' return to Blue Note wasn't a celebrated event - no exact date even exists for these sessions, although in all likelihood it was recorded somewhere in October 1966. Even if the event was poorly documented, it was fairly important for the label, because it signaled that they were backing away from the adventurous hard bop and free jazz they had been recording, and were considering concentrating on the commercially oriented, mainstream soul-jazz the Three Sounds pioneered. Since Vibrations was recorded in 1965, not 1959, there were differences in the trio's approach. Pianist Gene Harris tried organ on a few tracks, and the group tackled contemporary R&B hits ("Let's Go Get Stoned," "Fever," "Yeh Yeh") as well as MOR pop ("It Was a Very Good Year")…

Soul Symphony was the last album cut by the Three Sounds, of which pianist Gene Harris remained the only original member. Bassist Andy Simpkins left after 1968's wonderful Elegant Soul LP, and was replaced on this date by "the Skipper," Henry Franklin. This date is a direct follow-up to its predecessor, in that Monk Higgins returns to orchestrate and arrange a large string group; he co-produced the set with Dee Ervin. Also returning from the previous session is the criminally under-recognized vibraphonist/percussionist Alan Estes. In addition, David Duke and Art Maebe alternately played French horn, Buddy Collette guests on flutes, Freddy Robinson appears on guitars, and the Specialties Unlimited - vocalists Clydie King, Mamie Galore, and Alex Brown - are utilized. In other words, other than a second drummer, Soul Symphony shares a nearly identical setup with Elegant Soul…

Lou Donaldson and the Three Sounds both had a tendency to slip into low-key grooves, which is what makes the hard-driving bop of the opener "Three Little Words" a little startling. Donaldson is at a fiery peak, spinning out Bird-influenced licks that nevertheless illustrate that he's developed a more rounded, individual style of his own. The Three Sounds are equally as impressive, working bop rhythms with a dexterity that their first albums only hinted at. That high standard is maintained throughout the album, one of the finest in either of their catalogs…