The Canadian folk/rocker’s vital third album opens with an ambitious, though somewhat out of character tune featuring a melodic line and driving rhythmic pulse reminiscent of something that might have been penned by Death Cab For Cutie’s Ben Gibbard, though the vocal is unmistakably Edwards’: a feathery, vulnerable-yet-stoic tone fitted to unadorned, precise phrasing that can comfortably draw out a one syllable word the length of a football field.
Ryan Adams is a song-writing machine. With over 206 tracks recorded, the 33-year-old singer/songwriter has amassed a deep and thorough song library. In 2007, he released two albums, an LP and an EP. His 2007 LP, Easy Tiger , received rave reviews and debuted at #7 on the Billboard Top 200 chart. While Easy Tiger was recorded during a time when Adams was going through Valium therapy to beat his heroin addiction, the EP Follow The Lights was written during a rare time of sobriety. Adams’ clear (er) mind state really shows.
On the opener, “Dragonfly Pie,” Stephen Malkmus and The Jicks want to lay a heavy trip on you, man. Dualing fuzz toned and wah-wah’d guitars, Mitch Mitchell (or Ed Cassidy)-like skin pounding (by Janet Weiss late of Sleater-Kinney), a plodding rhythm and a lysergic vibe produce an acid flashback swirl. Until the chorus, that is, where it becomes positively skip- on-stone jaunty.
Speaking personally, I never much cared for this corny West Coast band, particularly this incarnation, featuring lead singer Tom Johnston’s high-pitched, quivering and bleating.
Lou Donaldson playfully skids into a few bars of David Rose’s “Holiday For Strings” mid-solo during a cover of the Kelmar/Ruby standard “Three Little Words,” indulging himself in a bit of shtick popular back when jazz could be lighthearted, studious and physical. Sonny Rollins was and is a deft practitioner of the off-handed musical quote as are and were many of the other jazz greats of a bygone era. It’s rarely done today. Jazz is more serious and cerebral, unless it gets goofy as the drummer Matt Wilson sometimes can get.
Recorded live on June, 28th at the 1974 Montreux Jazz Festival, this hot session features Wells and Guy backed by a last minute “pick-up” band consisting of ex-Rolling Stone bassist Bill Wyman, Otis Spann’s Muddy Waters band replacement Pinetop Perkins, ex-Manassas drummer Dallas Taylor, best known for peeking (or peaking) out the door on the back cover of Crosby Stills, Nash (on which he also played) and his brother Terry Taylor on rhythm guitar.
From the NAIM archives comes this triple LP/double CD set, originally issued as two, long out of print, individual CDs, featuring Charlie Haden’s Quartet West, featuring Saxophonist Ernie Watts, pianist Alan Broadbent and the late, great drummer Billy Higgins on one session and the great, not late Paul Motian on the other.
Let the Blue Note reissue riot continue! Fans of the cool, bluesy, gospely Blue Note sound can’t help but feel blessed at the output, whether from Classic in mono or from Analogue Productions and Music Matters in stereo.
(As we approach the August 29th 2007 second anniversary of Hurricane Katrina, we thought it a good time to reflect on the pathetic response by the Bush administration then and now and to present our man in New Orleans's Roger Hahn's coverage of last spring's New Orleans Jazz and Heritage Festivaled.)