Afro Celt Sound
System: Volume 3: Further in Time
Real World 7243 8
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 As their name
suggests, Afro Celt Sound System combines Celtic and African influences to create what
might well be a new type of pop music. That it doesn’t entirely succeed is
unfortunate, but the fact it exists is a testament to the music-first philosophy of Real
World Records. That said, I really wanted to like what I heard on the third installment of
Afro Celt Sound System. Sadly, I found little to hold my interest or break an unsettling
feeling of déjà vu. Songs like "Persistence of Memory" sounded remarkably
similar to what one might hear from Enigma, while some fiddle-driven tracks seemed too
chaotic and derivative. The production values are above average, with the exception of
bass that tends to sound slightly overblown on some cuts. The album isn’t bad, per
say. It just isn’t as inspiring or original as one might expect from Peter Gabriel's
label.
John Zorn: Filmworks, Vol. 10: In the Mirror of
Maya Deren
Tzadik 7333
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 Cello, percussion, piano, organ
and Wurlitzer -- talk about an eclectic combination of instruments. Unless, of course, you
are composer/musician John Zorn. The tenth CD in a series of independent film soundtracks,
In the Mirror… is a documentary about Deren, both a pioneer of avant-garde
film and a founder of the "New York underground." The 15 tracks touch on her
Russian-Jewish roots, her fascination with dance and ritual, and her love of classical
music. Many of these compositions are intensely moving. In particular, "Kiev 2,"
a simple piece written for cello and bass drum, is a true work of sonic art.
"Teiji’s Time," "Nightscape" and "Voudon" feature Cyro
Baptista, who creates incredibly unique sound, generated by a variety of percussion
instruments. John Zorn, better known for his alto saxophone, takes a turn on piano for
three tracks -- "Kiev 1," "Drifting 2" and "Drifting 3" --
each time painting a uniquely haunting and beautiful soundscape. This is a very original
recording that just gets better with each listening.
Belle
and Sebastian: Fold Your Hands Child, You Walk Like a Peasant
Matador Records Ole 429-2
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 Fold Your Hands Child, You Walk Like a Peasant
was my first encounter with the music of this guitar n’ string duo, the result of an
Amazon.com "If you like this, then maybe you’ll enjoy that" match, I took
the plunge into what seems like a 60’s retro group: catchy and light, musically;
"heavy" in subject matter. I found this mix of pop and introspection quite
enjoyable. Then again, I’m a sucker for string arrangements and acoustic guitar, so
it wasn’t much of a stretch for me. The recording was OK, with an overall sound that
bordered on being bass-shy with slightly too much processed echo in the vocals. With songs
like "I Fought in a War," "The Model," "The Chalet Lines"
and "Women’s Realm" though, cavils concerning sound quality seem like nit
picking.
The
Beautiful South: Painting It Red
Uni/Ark 21 810064
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 It was a fondness for Edgar Allen Poe and the musical tastes of a
Circuit City salesman, which introduced me to Britain’s The Beautiful South. Of
course parallels with Poe’s The Black Cat and The Cask of Amontillado
weren’t the only things that charmed me about "Woman in the Wall."
It was also a wonderful arrangement, with a memorably sing-able chorus that drew me into
its wry, jet-black tale of domestic violence. Some 12 years later "Painting It
Red" only deepens my respect for this largely underrated and highly original band.
Songs like "If We Crawl," "The Mediterranean," "Masculine
Eclipse," ‘Til You Can’t Tuck it In" and "You Can Call Me
Leisure," simply scratch the surface of a record that has very little padding among
its 17-song play list. Also consistent is its sound quality and the multi-instrumental
prowess of a group that never seems to run out of ideas or sparkling melodies.
Miles Davis: Live at the Fillmore East (March 7,
1970): It’s About That Time
C2K85191 Columbia/Legacy
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 From the opening
blast of "Directions" to the last whisper of "Willie Nelson," the high
level of intensity and musicianship never wanes on this two-CD set. From Davis’
trumpet to Chick Corea’s lightning-fast Fender Rhodes piano playing and Wayne
Shorter’s hard charging soprano and tenor saxes, not to mention the underpinning of
Dave Holland’s electric bass lines and the combination of Jack DeJohnette’s
drumming attack and Airto Moreira’s upbeat percussion, there’s never a remotely
dull moment. It's About That Time, the first official live recording of this
ensemble, represents jazz-rock fusion’s infancy. Documenting two 45-minute sets,
covering songs from the studio albums In a Silent Way and Bitches Brew (both
released in 1969), these discs are awash with the enthusiastic energy and emotions that
can come only from live performance. Just listen to either version of "Spanish
Key," one featuring an extended electric-piano solo and the other serving up some of
the finest soprano saxophone ever recorded, and you’ll understand. Miles Davis often
provided his bandmates with as much space as necessary to solo and Live at the Fillmore
East is a perfect example. If you’ve enjoyed other Miles Davis live releases from
this period, Black Beauty and Miles Davis at the Fillmore East, both
recorded later in the same year, then you certainly can’t go wrong with this one.
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