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Released in 2002, & Yet & Yet may be Do Make Say Think's most consistent -- if uninspired -- work to date. The band's thick wire-frame mesh of Dave Mitchell's sub-pattern drumming and the remaining members' perched Labradford-like arrangements admirably survived the growing dismissal of post-rock and non-electronic experimentation. A sad, engagingly muddled keyboard, for example, bubbles to the surface of scraped bass and guitar in "Chinatown," while "End of Music" returns to a rumbling anxiety that recalls the sophistication of a pre-grunge era. Owing itself to past accomplishments proved to be its only failing. Much of this music was dry, over-determined. Long sequences were built on a series of predictable elements of suspense. With & Yet & Yet, Do Make Say Think seemed to be refining its sound, but intellectually so, leaving many of the band's interesting flaws behind. ~ Dean Carlson
Audio Mixers: Ohad Benchetrit; Charles Spearin.
Recording information: Justin's Home, Queen Street; Manta DSP, Toronto, Canada.
Do Make Say Think includes: Charles, Ohad.
Personnel: Tamara Williamson (vocals); Brian Cram (horns).
3rd Rel
Q (May 2002, p.110) - 3 out of 5 stars - "...A curious kind of experimental noise combo feel-good factor....think lounge band jazz spliced by techno-minded krautrockers..."
Mojo (Publisher) (April 2002, p.97) - "...[An] accomplished distillatino of spacey grooves and improvised invention....[written with a] loose-limbed tunefulness and melodic ear..." Do Make Say Think And Yet And Yet Songs And Yet And Yet Review
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Purchase And Yet And Yet CD To buy, Click on price to add to cart | Do Make Say Think CD (1998)
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| | Coleman Hawkins Ken Burns Jazz Collection CD (2000)
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Recorded between 1926 and 1963. Includes liner notes by Carl Woideck.
Digitally remastered by Kevin Reeves (Universal Mastering Studios-East).
Coleman Hawkins was the man who put the tenor saxophone on the jazz map. Though the great Bud Freeman had preceded him, Hawkins' big, bold, and affectionately rough tone set the standard for jazz saxophone styles for decades to come, influencing players from the swing era to bebop and beyond. This collection is a superb, wide-ranging summary of Hawkins' career.
This set kicks off with "The Stampede" from 1926, a Fletcher Henderson tune that heralded the swing sound that would soon take the jazz world by storm. "Body and Soul" was and is Hawkins' best-known (and loved) tune. In a sublime example of jazz ballad playing, here Hawkins adapts a well-known pop tune and makes it his own. Hawkins was also one of the first swing era giants to take to bebop, playing and recording with bop icons Dizzy Gillespie ("Woody 'N' You"), Thelonious Monk ("Ruby, My Dear"), and Sonny Rollins ("Just Friends"). Later collaborations with Duke Ellington ("Self Portrait"), and Max Roach ("Driva Man"), prove that Hawkins still had the right stuff in the 1960s.
This is part of the Verve Records Ken Burns JAZZ series.
Personnel: Coleman Hawkins (clarinet, tenor saxophone); Abbey Lincoln, Red McKenzie (vocals); Django Reinhardt, John Collins, Jack Bland, Herb Ellis, Allan Reuss, Bernard Addison (guitar); ...
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$8.79 | | Portastatic Bright Ideas CD (2005)
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Portastatic's Bright Ideas might just be their best record yet. Seeing as how the track record of Mac McCaughan's group is scattered with nothing but low-key gem after gem, that is high praise. It is the first full album he has released since his main band, Superchunk, went into the clichéd realm of indefinite hiatus, and while only Mac knows if any of these songs could have ended up as Superchunk songs, if they had the record they appeared on would have been hailed as a triumphant ...
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| | Serafina CD (2007)
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| | Banda Calypso Ao Vivo Em Goiania CD (2007) (Import)
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