| | Noise Room CD
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Our Price: $12.79  CDFor Sale Usually ships in 1-2 days
Our Price: $10.89
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Editor: Frank Dommert.
Personnel: Kim Hiorthoy (vocals).
Noise Room Review
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Purchase Noise Room CD To buy, Click on price to add to cart | Kirk Franklin Christmas CD (1995)
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In addition to energized versions of such treasured Christmas songs as "Go Tell It on the Mountain" and "Silent Night," Franklin & the Family contribute several non-traditional songs that explore the depth of God's love and the Christian basis for the holiday. "Now Behold the ...
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| | Robert Wyatt End Of An Ear CD (1971)
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Out of print in the U.S.! 1971 debut solo album from the Soft Machine drummer/percussionist. Eight tracks. Sony/BMG.
Of all the projects Robert Wyatt created apart from his tenure with Soft Machine and Matching Mole, The End of an Ear has to be the strangest, and among the most beautiful and misunderstood recordings of his career. Recorded near the end of his membership in Soft Machine, End of an Ear finds Wyatt experimenting far more with jazz and avant-garde material than in the jazz-rock-structured environment of his band. The Wyatt on The End of an Ear (a play on words for the end of the SM era, and another session called "Ear of the Beholder") is still very much the fiery drummer and percussionist who is interested in electronic effects and out jazz and not the composer and interpretive singer of his post-accident years. Influenced by Miles Davis' electric bands and the fledgling Weather Report who did their first gigs in the U.K., Wyatt opens and closes the album with two readings of Gil Evans' "Las Vegas Tango, Pt. 1." These are the most structured pieces on the recording, and the only ones not dedicated in some way: "To Mark Everywhere," "To Caravan and Brother Jim," "To Nick Everyone," "To the Old World (Thank You for the Use of Your Body, Goodbye)," "To Carla, Marsha, and Caroline (For Making Everything Beautifuller)," and others. The titles reveal how personal the nature of these sound experiments can be. Wyatt, because of his association with many in the Canterbury scene, not the least of which is SM mate Elton Dean who prominently appears here, was learning alternate structures and syntax for harmony, as well as the myriad ways rhythm could play counterpoint to them in their own language. The interplay between Wyatt, bassist Neville Whitehead, cornet player Marc Charig, and alto man Dean on "To Nick Everyone" is astonishing. Wyatt creates time from the horn lines and then alters it according to Whitehead's counterpoint both to the formal line and the improvisations. Toward the end of the track, Wyatt's piano is dubbed in and he reveals just how expansive he views this new harmonic approach. The piano becomes a percussion instrument purely, a timekeeper in accordance with the bass, and the drums become counterpoint -- in quadruple time -- to everyone else in the band. When David Sinclair's organ enters the fray and another piano courtesy of Mark Ellidge, as well as assorted percussion by Cyril Ayers, the entire thing ...
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