jazz – 7th Level Music

Rewind Review: Gaby Novak – Pjeva Gaby Novak (2003 reissue)

I first discovered the sultry jazz voice of Croatian singer Gaby Novak while watching the excellent Croatian film H-8… from 1958. Her song “Sretan Put” is used to stunning emotional effect in the final act of the film. I was hooked and had to track down more of her music.

Pjeva Gaby Novak (“Gaby Novak Sings”) from 1959 is a great place to get on board if you want to experience her lovely vocals. “To Je Blues” (“Learning the Blues”), with a big band behind her, immediately puts her in the ranks of Nancy Sinatra. You can’t help dancing during this; or during “Karavan,” which has sharp, almost Latin percussion throughout it.

Her cover of “Netko Bdije Nada Mnom” (“Someone to Watch Over Me”) has the soft jazz piano and saxophones you’d expect, but her Croatian vocals are the sound of underground jazz clubs fueled by vodka and clove cigarettes. It’s over too soon. “Prodavacica Uspomena” (“Souvenirs”) is as peppy as fun as the previous track is bittersweet. You’ll want this on every late night cocktail party mix tape you make from now on until the end of time.

“Ponesi” (“Oh Venus”) is a little bit trippy and sounds like a lost cut from a Matt Helm movie soundtrack. I’m sure “Ljubav I Poljupci” (“Love and Kisses”) is still played on jukeboxes across Eastern Europe, as its infectious melody and goofy fun saxophones are a great mix with Novak’s vocals. “U Proljetno Vece” (“In the Spring Evening”) has Novak’s sexy voice keeping the band rooted, as they seem to want to burst into swing jazz any second.

“Mjesec Kao Igracka” (“Month as Toy” – roughly) is another sexy tune that sounds like it was fun for the band to record and Novak to sing. It reminds me a bit of Japanese jazz-pop from the same time period, really. “Sretan Put” (“Have a Safe Trip”) is the haunting, beautiful song that hooked me on Novak’s work, and it’s perfect for rainy late night drives and dropping off your lover at the airport. “Malaguena” is big, bold, and could’ve been a Bond theme in another life.

I’m sure “Ljubav Ili Sala” (“Love or a Joke”), with its exquisite horn section floating like a cork on the moonlit stream of Novak’s voice, was the soundtrack to many romances in Croatia in the mid-1960’s. The album smartly ends with a real swinger – “Draga Djevojka” (“Dear Girl”). Big horns, groovy drums, and Novak’s playful call and respond vocals with her band all add up to a song that will settle in your hips.

Gaby Novak had a magnificent career in Croatia and Europe, but she’s little known here. She deserves to be up there with your favorite jazz singers from the west, so do yourself a favor and give her a listen. You won’t regret it.

Keep your mind open.

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My top 25 live shows of 2016 – #’s 5 – 1

Here we are at my top five live shows of 2016.

#5 – Earthless at Levitation Chicago March 12th

Earthless are the only band to be in my top 10 concerts of 2016 twice. This was the second time I’d seen them and the first time I’d been close to the stage. It was a stunning performance that nearly left me speechless. They were also cool cats who were happy to sign my concert poster after their performance.

#4 – Night Beats at Levitation Chicago March 12th

Night Beats are the only band to be in the top 30 concerts of 2016 three times. Their Levitation Chicago performance was downright dangerous and established the swagger and tight chops I’d see from them all year. They, too, were also cool cats who signed my copy of their new album Who Sold My Generation for me after their set.

#3 – Deap Vally at the Chicago House of Blues October 13th

They were first on a bill with Death from Above 1979 and Black Rebel Motorcycle Club and they set the bar so high that the other two bands couldn’t match it. They came to kick ass and take names…and they were all out of names. They, too, were cool cats who chatted with me after their set. Everyone was still talking about their performance as we were walking out of the venue.

#2 – Gary Wilson at Levitation Chicago March 10th

I didn’t know much about Gary Wilson before seeing him at Levitation Chicago. I walked out a devoted fan. His show was part-lounge act, part-psychedelic freak-out, and part-performance art piece. He creeped out a woman next to me, made others laugh, others cheers, and others stand there with a “What the hell am I seeing and hearing?” look on their face. I couldn’t stop talking about his performance for weeks and haven’t stopped recommending him to everyone since.

#1 – Bebel Gilberto at Ann Arbor Summer Fest June 18th

Only one concert had a moment that made me cry in 2016, and that was when Bebel Gilberto and her guitarist performed a cover of Radiohead‘s “Creep.” Seeing this member of bossa nova royalty in a great venue (The acoustics in Ann Arbor’s Powerhouse Theatre are sublime.) was a dream come true, as I’ve had a serious crush on her and her music for many years. It was also the first show I attended on a press pass thanks to this blog, so it will always hold a special place in my memory.

Thanks for reading. I hope to get to just as many shows in 2017. Wish me luck and let me know about bands I need to see this year.

Keep your mind open.

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Gary Wilson – It’s Christmas Time with Gary Wilson

Gary Wilson releasing an album of original Christmas music? No standards? I’m there. I’m there all through the holiday season.

After a brief introduction that features cackling geese, Wilson’s distorted voice repeating “holiday” over and over, and warped synths, It’s Christmas Time with Gary Wilson brings “A Christmas Tree for Two.” Wilson sings about buying a silver Christmas tree for his love. “I don’t wanna cut down a Christmas tree. It makes me sad when it starts to bleed,” Wilson sings. Would you expect Gary Wilson to have anything but a swanky reflective tree with a spinning multi-colored light under it?

“I Saw Santa Dancing in the Dark” has Wilson singing about his eager return to his hometown (Endicott, NY) and taking his girl to the famous (to him and his fans) north side pool before a return home for drinks and dancing, but the mysterious Linda is “crying in the park.” Will Gary’s date go as planned? Here’s a hint: It rarely does.

As evidenced on “A Sled Ride Tonight,” in which Wilson’s been dumped during the Christmas season and all he wanted was to take his lady on a sled ride. It’s a song that would fit on any of his records, let alone a Christmas album. The chaotic synth instrumental “The Snow” is a perfect musical accompaniment to the hypnotizing, weird visuals you get when looking at blowing snow in the headlights of your car at 2am. “Holiday” is a jaunty tune in which Wilson tells his girl he’s going to introduce her to “the chromium clown.” It might be a bit creepy, but the song is nothing but bouncy lounge fun.

It wouldn’t be a Gary Wilson album without him singing about his lost loves, and “Cindy Wants to Cry” certainly qualifies. Don’t miss the nice saxophone work and quirky percussion while he sings, “Linda wants to cry, Karen wants to cry, Cindy wants to cry on Christmas.”

“Wintertime in Johnson City” has Wilson excited about yet another upcoming date, but he admits that Johnson City is “a town that has no pity” and knows that she might not show up. Meanwhile, “It’s Snowing in Endicott.” “Sounds so nice, so sad,” Wilson says at the beginning of the tune. The town is forever linked with Gary Wilson, as are its painful memories known only to him. He has his house and Christmas tree ready, doing his best to cut through the gray skies and loneliness. Maybe he’ll get his Christmas wish this year, but you doubt it.

Wilson’s girl doesn’t make it to his house because she’s “Lost in the Snow.” He can’t find her, yet again, but he never gives up hope. This never-ending optimism is one of the best things about Wilson’s music. There are themes of loss, loneliness, and bad luck, but he always gets up from the couch after another lonely night in Endicott. He never gives up hope of a fun Friday night with Linda, Karen, Cindy, or others.

There’s wonderful jazz lounge piano in “She Danced Near the Frozen Lake.” “Let’s take a walk into outer space,” Wilson sings on “A Date for New Year’s Eve.” I can’t imagine a better way to start 2017 than that. I don’t know what Wilson’s going to with the “pound of baking flour” he mentions buying in the song, but I’m sure it will end up everywhere. Check out one of his live shows and you’ll understand.

“Santa Claus Is Coming to My Lonely Town” keeps hope alive once more. Wilson’s met a new girl he kissed on the planet Mars. Is this after Santa Claus conquered the Martians? He’s brought Wilson’s wish list and it’s all walks in the park, kisses in outer space, beautiful snow, and every night being Friday night. It’s a wish list we’d all take and far better than more junk you’ll hate in four months.

The album closes with the instrumental “Lonely Holiday,” linking it back to the beginning of the record. The Christmas spirit, like Wilson’s perpetual optimism and search for love, should last all year.

Keep your mind open.

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Goat – Requiem

Sweden’s voodoo-psych weirdos Goat have returned with a record that steers a bit away from their usual blend of frenetic, world music freak-outs and slows the pace. Whereas their first two records, World Music and Commune, were cosmic journeys around and sometimes into a wormhole, Requiem is a leisurely drift down the Nile in ancient times.

“Djorolen / Union of Sun and Moon” starts with birdsong as Goat’s two female lead singers give a lovely send-off to your catamaran as it pulls away from the Egyptian shore. Then, the drums, guitar, and a playful flute burst through your speakers like a bunch of minstrels running around the deck of the catamaran in a celebration of what will be a blessed journey. The lyrics speak of rejecting negativity and traveling through space and time.

“I Sing in Silence” is an instant chill-out song, with flute, guitar, and hand percussion that is perfect for our journey down the Nile as the sun warms us and an ibis glides alongside the catamaran. “Brother, I am your sister, you are my brother, we have each other,” they sing. It’s a song of inclusion desperately needed here in the U.S. this election year.

“Temple Rhythms” is appropriately named because the drums beats and handclaps at the outset will get you moving like you’re offering up a dance to appease whatever deity you worship. The song is spearheaded by flute and piano. It’s a wild track that sounds like something from a cool late 1960’s European jazz festival.

Speaking of the 1960’s, “Alarm” is 60’s psych – as evidenced by the acoustic guitar work and tripped-out percussion throughout it. “Trouble in the Streets” brings in Caribbean beats and guitar styling (and even bright, bash keyboards), again perfect for a lazy ride down an endless river. They go back to psychedelia on (no surprise) “Psychedelic Lover,” which includes Middle Eastern chants / calls to prayer.

“Goatband” is nearly eight minutes of instrumental psychedelia that reminds me of early Love and Rockets tracks with its free jazz saxophone in the background. “Try My Robe” is a great example of the “Goat sound” (if there is such a thing) – hand percussion, wicked drumbeats, female vocals, mantra bass, and crisp guitar. It flows straight into “It’s Not Me,” which sounds like something Jane’s Addiction wish they’d written (dub bass, reverbed vocals, slick drumming). It’s one of the loveliest tracks on Requiem.

“All-Seeing Eye” is probably a reference to the Illuminati or the sixth chakra. Either way, it’s a good psych instrumental and lead-in to the rocking “Goatfuzz” that hits hard for almost seven minutes and has some of the fuzziest guitar on the record. Another epic psych track is “Goodbye,” which starts with guitar that would belong in a Euro-western from the 1960’s and ends with those hypnotic beats Goat does so well, backed with body-moving bass.

“Goodbye” isn’t the last song on the record. That distinction belongs to “Ubuntu,” which ends with samples from “Dirabi,” Goat’s first track off World Music. The three albums become an ouroboros – the snake that eats itself, the wheel of reincarnation. The end is the beginning. The journey along the Nile ends with the ocean. The end opens into a new world. Requiem isn’t about death and doom. It is about exploration and embracing what lies ahead.

Keep your mind open.

Vapors of Morphine – A New Low

Consisting of two members of Morphine (one of my top 5 bands of all time) – Dana Colley (saxophones, vocals) and Jerome Deupree (drums) – and their pal Jeremy Lyons (vocals, guitar, bass, banjo, and more), Vapors of Morphine are reclaiming low rock and bringing it back when we need it most in this time of 24-hour news cycle cacophony.

A New Low opens with a short instrumental and then a traditional Tuareg song, “Renoveau / Daman N’Diaye” (and a second version of it near the end of the record). The inclusion of Tuareg music on this (with vocals by Boubacar Diabate) is a great choice and shows the band’s love for low-fi world music as well.

Their new version of Morphine’s “Shiela” is great, and slightly darker than the original. “Baby’s on Fire” has some of Colley’s best electric saxophone work. I still don’t know how he gets those sounds out of those things. Their take on Morphine’s “The Other Side” turns it from a song of lament and regret to one of paranoia.

Dana Colley often plays two saxophones (one tenor, one baritone) at once, but it sounds like he’s playing four on “Sombre Reptiles.” “If” is a great example of low rock as Lyons sings, “If the ocean was whiskey or full of gin, would you lead me away or push me in?” and Deupree drums are cooly reverbed and Colley’s saxophones do a creepy crawl through your stereo.

“Red Apple Juice” is an old Appalachian standard, and the band does a great job with it, turning it into a near goth-country song with Lyons’ banjo leading the way.

Colley sings leads on “Souvenir,” another great Morphine track. He also goes blissfully bonkers with his saxophone work on it by the end. “Rowdy Blues” reminds me of Treat Her Right tracks, which is always a good thing (and a natural progression since THR’s Mark Sandman went on to form Morphine with Colley and Deupree).

The album ends with the instrumental “Interstellar Overdrive,” in which Dana Colley plays a spaceship. The track is proof that the band could go full-blown psychedelic if they wanted.

A New Low is proof that low rock has returned and is just as good as it’s always been.

Keep your mind open.

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Gary Wilson to release Christmas album.

File this under: Best News You’ve Heard Today.

Avant-garde psych-lounge master Gary Wilson is releasing a Christmas album three days before Halloween. It features 14 tracks of Wilson’s take on the holiday season. The titles reflect a lot of Wilson’s favorite themes – love (“A Christmas Tree for Two”), breakups (“Santa Claus Is Coming to My Lonely Town”), desire (“A Date for New Year’s Eve”), the town of Endicott (“It’s Snowing in Endicott”), and the mysterious women he references on his albums (“Cindy Wants to Cry”).

This will probably be my go-to gift for many people on my Christmas list this year. Be sure to put it on yours.

Keep your mind open.

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Gary Wilson – It’s Friday Night with Gary Wilson

I’ve been mildly obsessed with Gary Wilson’s music since seeing him perform at Levitation Chicago earlier this year. It’s to the point where I’m probably dressing up as some variation of him for Halloween. I’ve been awaiting his new record of avant-garde lounge music, Friday Night with Gary Wilson, for months.

It starts with the brief, chaotic, and weird “A Tree Cries in the Wind.” It’s some sort of tape-looped fever dream of a car crashing through a swanky bowling alley lounge and then into the recording studio next door. It moves into “I Want to Hold Your Hand Tonight,” which gets us back to familiar Gary Wilson material – A guy just wants the chance to treat his lady (the ever-mysterious Linda, in this case) right. “Every night is Friday night,” Wilson sings as he lays down peppy electric organ grooves. Every night can be Friday night with Wilson’s music if you open yourself up to it.

Wilson tells Linda “I’m Going to Take You to a Thousand Dreams,” including flying to the moon, walking through the park, and making sweet love to the sound of a rather hot guitar solo. “You’re the Coolest Girl Tonight” isn’t about a girl who’s cool as in Miles Davis / Fonzie / Joe Cool-type of cool. It’s about a girl who’s cold to everyone around her, but Wilson can’t resist her beauty and the chance to thaw out this fine lady and show her a good time.

Gary Wilson’s Fridays aren’t always smooth, however. “Sick Trip on Friday Night” has him too timid to talk to Linda, even though he knows he’s the right guy for her. He goes through it every weekend. The quirky synths on it bounce like the thoughts and dreams in his head.

“Yeah, let’s swing,” says Wilson at the beginning of “We’ll Dance into the Stars.” Dancing on the moon and through the galaxy is a common theme on the record, and this groovy lounge cut is perfect for a slow dance (or an all-skate) aboard your favorite starcruiser.

Wilson’s obsession with Linda continues on “Like a Scene from a Movie Long Gone.” It even starts with the lyric, “Gary loves Linda.” Wilson sings about himself in the third person and then in the first, so you’re never sure how much of his songs are fantasies and how much is something that really happened to him. The song has some of his best electric piano work on the record.

“The Mermaid Song” is about a dream in which a mermaid sings for Wilson from the ocean, possibly luring him to either the love of his life or his doom. Wilson drops Linda, Cindy, and Cheryl’s names, but is any of them the mermaid, or is the mermaid a composite of all of them? Wilson’s synth work on it is outstanding. Beck wishes he had grooves this good.

The drums on “Soon I’ll Be Kissing Sandy” almost sound reversed, but the song is too playful to be weird. “Linda” returns after that, with some nice strings accompanying her. Wilson name checks his band (the Blind Dates) in it, and even one of his best hits, “Linda Wants to Be Alone,” in it. The groove on this is so sick that it needs antibiotics.

Even a song with such a blue title as “You Made Me Feel My Misery” can’t avoid Wilson’s ultra-lounge grooves. Wilson pines for a lost love, even though the relationship was miserable. “I Thought of You Last Night” is a weird mix of crowd noise, ambient piano, drunk synths, and something a bit nightmarish. It quickly fades into “I’ll Make You My Dream Girl,” which makes me wonder about Wilson’s obsession with the girl mentioned in the song.

The album ends with “Sometimes I Cry Late at Night,” an instrumental that showcases what a damn good pianist Wilson is. His skills are easy to miss in many of his songs as you listen to his quirky lyrics or dance to his lounge grooves, but Wilson is a fine jazz player who can put it down with the best of them.

You could spend your Friday night watching bad TV and eating those leftover chicken wings, or you could spend it with Gary Wilson, the Blind Dates, Linda, Sandy, Cheryl, Cindy, and a bunch of other fine ladies. I know what I’d pick.

Keep your mind open.

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Rewind Review: Bebel Gilberto – Tudo (2014)

I don’t know how I missed that the lovely Bebel Gilberto released Tudo in 2014, but I’m glad seeing her live reminded me to pick up this record. It’s another beautiful mix of bossa nova, electro, and lounge music that only she seems to be able to create.

The opening track, “Somewhere Else,” is sung in English and Portugese and lures the listener into taking their dream vacation, be it for real or even in the vastness of one’s mind. It even includes birdsong in the background, which I assume happened because someone left the window of the recording studio open and birds naturally land and sing whenever Ms. Gilberto even hums a tune.

“Nada Nao” (“Nothing”) is just Gilberto’s voice, an acoustic guitar, and hand percussion. It’s a fun, toe-tapping track. “Tom de Voz” (“Tone of Voice”) is a short and sweet song highlighting (What else?) Gilberto’s lovely voice.

“Novas Ideias” (“New Ideas”) has Gilberto singing alongside her frequent co-writer Seu Jorge. It will instantly make you happy, as it’s a fun samba-influenced cut that you need to play on your next date or slip to the DJ at the next wedding reception you attend. Her cover of Neil Young’s “Harvest Moon” is outstanding and brings a whole new feel to the ballad.

The title track (which means “All”) has some of Gilberto’s best vocals, as she dances around tricky words like a ballerina spinning across stage. I love the simple organ and synths on it, too, as they float behind her vocals with the hand percussion setting the beat. “Saudade Vem Correndo” (“Longing Comes Running”) is one of her many songs that will instantly make you happy. The flute backing her up on it is a great touch. “Areia” (“Sand”) begins with chimes that remind you of sand falling through an hourglass. The guitar work on it is a hypnotic low rhythm with a slight Flamenco feel. It’s even a bit dark until Ms. Gilberto glides in to rescue us and make us think of strolling on a Brazilian beach and enjoying an ice cream cone with a lover.

Or maybe the beach is in France, considering the next song has a French title – “Tout Es Bleu” (“All Are Blue”). It’s a great electro-jazz track that has probably been remixed by DJs across the world by now. It deserves to be played at your next late night party. You can’t be blue during it, so thanks to Ms. Gilberto for giving us a cure to our doldrums.

“Lonely in My Heart” has Gilberto’s vocals slightly reverbed as some acid lounge electric beats shuffle behind her and trippy synths creep in now and then. They might be evoking the ghosts of a relationship Gilberto sings about in the track. They bring a cool energy to the song even if they don’t.

When it comes to Ms. Gilberto and I, “Vivo Sonhando” (“I Live Dreaming”). I live dreaming of her singing to me in a dim club as we sit at a small table and enjoy fresh juice and a jazz band. This song pretty much describes a scenario like that and I’d probably melt right there in my chair if that ever happened. It’s a gorgeous track that, like any good dream, is over too soon.

“Inspiracao” (“Inspiration”) is a cool electro song. I love how she can jump into electro and lounge music without any trouble. “It’s All Over Now” is a heartbreaking song about a breakup and how Gilberto wishes the best for her lover and hopes they cherish the good times they had. It’s a sublime ending to a lovely record.

You need to hear Bebel Gilberto if you haven’t before. Her songs can change the mood of any place, person, or function for the better.

Keep your mind open.

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Rewind Review: Golden Dawn Arkestra – self-titled EP (2014)

[Rewind Reviews are reviews of albums that are at least a year old by the time I hear them.]

Cosmic funk rockers / shapeshifting aliens / voodoo acid trip Golden Dawn Arkestra’s self-titled 2014 debut EP is a lesson on how to release your first record: You come out blowing minds on the first track.

“Afropocalypse” is full of fat horns, shredding guitar, echoing vocals delivering messages from the boat of Anubis…or maybe from Texas. I’m not sure. I was too stunned by the track to figure out its meaning. It’s probably planted in my head like a Zen koan that will enlighten me when I’m not thinking about it.

“Oasis (The Legend of Nathaniel Thorne)” is part-spaghetti western film score and part-space lounge jam. Imagine Django walking into a 1960’s sci-fi movie space station bar while carrying a Theremin instead of his Gatling gun and you’ll have a slight idea of what this song is like. I have no idea who Nathaniel Thorne is, but Golden Dawn Arkestra has given him a badass theme song.

“Dimensions” has a bass lick that the Crystal Method would envy and joyful flute, handclaps, and lyrics inviting us to join Golden Dawn Arkestra on their journey beyond the five senses and the nine planets. “Masakayli” is pretty much a chant used to invoke the Egyptian god of funk (which I think might be Hathor), and the funky organ and wicked drum beats help.

“Saharan Knights” has some of my favorite guitar licks on the record, mixing psychedelia with surf. I also love how the horn section sounds a bit drunk throughout it. The EP ends with a song that at first sounds like a Chemical Brothers track from the mid-1990’s, “Selemat,” but soon turns into a hot space disco jam that will have you jumping. I love that Golden Dawn Arkestra ended with EP with a track that leaves you wanting more (and, thankfully, they gave us Stargazer earlier this year).

Get on this cosmic pleasure yacht while you have the chance. Sip cocktails with ghosts, otherworldly creatures, warlocks, shamans, witches, and priestesses. Listen to Golden Dawn Arkestra.

Keep your mind open.

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Unreleased 1969 Betty Davis music now available!

File this under “Best News You’ve Heard Today.” Jazz / soul / funk queen Betty Davis, former wife of jazz legend Miles Davis, has worked with Light in the Attic Records to remaster nine previously unreleased tracks from 1969 sessions featuring Miles Davis, Herbie Hancock, Mitch Mitchell, and many more rock and jazz greats. The Columbia Years 1968-1969 is now available for pre-order.

Keep your mind open.

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