Album Reviews

If any Byrds music deserves to be heard stripped of its vocals, it's the exploratory jazz and raga influenced instrumental tracks produced for the Fifth Dimension sessions. Having fallen under the influence of Ravi Shankar and John Coltrane, the band spent long nights in the studio jamming, finally producing its epic “Eight Miles High” along with the rest of the album, some of which was not quite as accomplished.

This record reminds me of the first Talking Heads album, '77 The music kicks in a stilted sort of way; the front man is more weird than powerful, but draws skillfully on the music for his punch, so that his oddball catchphrases (many of them about everyday things like cities, buildings, and doing a good job, lending a certain Richard Scarry earnestness) are driven into your head. He doesn't exactly chant, but it feels like he does. The album is actually more “good” than it is “fun to listen to”-I keep having to make myself put it on. But I'm often glad I did. But I don't listen for all that long.

Sundazed's Bob Irwin plays guitar and loves guitarists. In case you haven't noticed, go through the Sundazed catalog and you'll see. Hank Garland, best known as a Nashville session cat who played with Elvis, Eddy Arnold (in his touring band) and many, many others, was equally adept at playing electric jazz and this album on SESAC records issued in 1960 proved it. Adding to the interest here is the inclusion on the session of the very young vibraphonist Gary Burton.

This simple 1957 session featuring the mellow-toned tenor sax player backed by Oscar Peterson's trio (bassist Ray Brown and guitarist Herb Ellis) plus drummer Alvin Stoller doesn't set off any sparks but like a good Cognac, it goes down easy and brings great warmth and much pleasure, both musically and sonically.

Duke Ellington in a hard charging trio session may surprise some listeners expecting the Duke's usual light touch. Spurred on by Charles Mingus's angry plucks and Max Roach's polyrhythms, Ellington hits the keyboard harder than usual, punctuating his flourishes with greater dynamic gusto than one hears on his big band recordings.

As you'll read in James Lyons's Iiner notes for this disc, Respighi was a nostalgic artist who preferred the melodic, romantic music of a bygone era to the atonal, serial, avante-garde constructions popular when these retro-impressionistic compositions were written in 1927.

When your wildly influential band dissolves after five albums and a decade of indie acclaim, separating yourself from your past is near impossible. If any band defined the old “critically adored, publicly dismissed” adage, it was Pavement. If you came of age in the sixties or seventies it’s probably hard to believe lines like “Lies and betrayals/ Fruit-covered nails/ Electricity or lust/ Won’t break the door” have had as much impact on a certain generation as anything by Dylan or The Beatles; but it’s true. Sure, it happened to be Generation X, but ask anyone who uses the words “indie”, “alternative”, or “college rock” more than once a month to name the best album of the nineties, and you’re bound to hear a whole lot of “Like, wow…that’d have to be, like, Slanted & Enchanted dude.”