Music Review: The Tunnel - Fathoms Deep

The Tunnel are a three-piece band based in San Francisco, who revel in the darkness. Jeff Wagner’s vocals ooze the type of venom Nick Cave once did with The Birthday Party. Alongside him bassist Sam Black and drummer Patrick Crawford set up the deep, ugly and unrelenting rhythmic wall of sludge we used to associate with Swans. Their new album, Fathoms Deep is fun like waking up in a nest of snakes.

The opening instrumental “Wraithers” sets the tone. The guitar and keyboards set up a spooky ambience that draws you in. It even feels good in its own way. Then the malevolent voice of Wagner comes in to open track two, “Strange Haven,“ with the line “You hear your footsteps walk down the middle of the street,” behind the blues walk of his guitar. Things are no longer looking quite as bright as they were before.

By the time “King Of The Impossible” rolls up, we are in good-time rock and roll territory - for desiccated former Batcave dwellers. Crawford gets in some serious drum action towards the end of this one. On the last song of side one - (on vinyl), they launch “Fathomless Deep.” This mostly instrumental bit serves notice that you have indeed arrived right where The Tunnel have wanted you all along. There is nothing left to do but turn the album over and see if there is a way out.

Despite the title, “The Beast-Catcher” (musically at least) offers a ray of hope. The Birthday Party used to trick us that way too though. A cursory listen to the lyrics (thoughtfully provided with the LP) reveals the truth: “The virgins are few and far between, he’s looking for you and he’s looking for me.”

“Scurvye Dreams” suggests our trio have been listening to some Leadbelly on their mission to freaky haunts in Northern CA. “The Bitter End” is a transitory piece. The surf qualities of “The Bitter End” show that The Tunnel have not only a sense of humor, but a great sense of timing. The best surf musicians - guys like Dick Dale, always made their guitars sound very dangerous. Their songs might be played on the radio, but those strings could slit your throat.


The record ends with “A Storm.” Has it all been a dream? Or are you sinking, fathoms deep? The Tunnel never spoil it by revealing their intentions, although my guess is the latter.

In any event, The Tunnel are one of the great bands in the SF area right now, and have put out an amazing second album. I must confess to not having heard the first, but if it is anything like Fathoms Deep, I would like to.

As mentioned previously, Fathoms Deep is available in all the formats, but my suggestion is to get it on vinyl. It is totally set up old-school, with a definite side one, and side two. They did a great job here, and are worth checking out. The Tunnel can be contacted at The Tunnel



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Music Review: Stan Getz & Cal Tjader - Stan Getz/Cal Tjader Sextet

In the mid-to-late-'50s, small jazz labels such as Fantasy often put ad-hoc groups together in the studio, and released the results under a variety of names. If there was extra material, it could end up as filler under the name of one of the “sidemen,” or just stay in the vault (awaiting the emergence of the CD reissue craze). The six musicians gathered under the credited leaders of Cal Tjader and Stan Getz for Sextet may have thought that would be the case with their sessions on February 8, 1958. If so, they would have been very mistaken.

Sextet has taken its rightful place as a jazz classic all these years later. The reason for this may have surprised the likes of Ralph J. Gleason (who wrote the original liner notes). But with the benefit of hindsight, one is able to clearly see the reason the date was so successful. In a word, it is talent. The date was something of a summit meeting of jazz giants, although nobody realized it at the time.

Getz’s saxophone had already garnered a lot of attention, as had the vibes (and songwriting) of Tjader. Vince Guaraldi (piano) had yet to discover his Charlie Brown muse, but his piano provides splendid accompaniment throughout the seven tracks. Then there is Eddie Duran (guitar), who offers equally empathetic melodic lines.

And how about that rhythm section? Although Billy Higgins (drums) was still relatively unknown, that would change soon with his long-term association with free-jazz pioneer Ornette Coleman. Finally, we come to Scott Lafaro (bass), who redefined jazz bass playing forever during his all too brief career, especially as a part of the Bill Evans Trio.

With the level of musicians in the room, the pieces were in place to be sure. However, there is one other crucial element for a successful collaboration, and that is the compositions themselves. With what has since become a jazz standard, Vince Guaraldi’s “Ginza Samba” leads the album off in a supremely winning way

Tjader’s vibes, Getz’s sax, Guaraldi’s piano, and Duran’s guitar all solo extensively during “Ginza’s” bossa nova part, but always stay true to the spirit of the song. Scott Lafaro may have been the least known member of the sextet at the time, but his bass solo during Tjader’s “Crows Nest” is a wonder.

Cal Tjader’s vibes never sound brighter than as the main voice of the Lerner and Lowe classic ballad “I’ve Grown Accustomed To Her Face.” Getz shines brightly on the final track of the set, “My Buddy,” a Gus Kahn-Walter Donaldson composition.

The Sextet album is something of an anomaly in the Original Jazz Classics Remastered series as there are literally no leftovers from the original sessions. Everything those six men played that long ago afternoon was released at the time, which is saying something. Sextet remains as impressive and absorbing as it was all those years ago. Give it a listen


Article first published as Music Review: Stan Getz & Cal Tjader - Stan Getz/Cal Tjader Sextet on Blogcritics.

Music Review: Art Blakey's Jazz Messengers Live At Birdland - Ugetsu

Birdland, NYC June 16, 1963. What a place to have been for 98 lucky souls. Yes, you read that right. The most famous jazz club in the world has a capacity of just 98. Those fortunate enough to have attended that night were treated to an incredible performance by Art Blakey And The Jazz Messengers. Although it was Blakey who inaugurated the “Live At Birdland” genre of albums (which has grown to over 100 individual titles by now), Ugetsu proved to be his third and final recording there. I must say, they went out in style.

Blakey was one of the finest drummers in jazz, but it was the people he surrounded himself with who were the real story. Blakey’s Jazz Messengers were always the cream of the crop. Much like it was with Miles Davis, a stint with Blakey could be considered something of a graduate course in musicianship.

Right from the top, the band is on fire. The great Cedar Walton’s piano opens up “One By One,” the horns of Curtis Fuller (trombone), Freddie Hubbard (trumpet), and Wayne Shorter (sax) state the theme — then Blakey himself pounds a nice little drum break, opening the song up for a fine Shorter solo. Holding it all together is the rock-solid bass of Reggie Workman.

The eleven-minute title track “Ugetsu” is up next, and is a tour-de-force. Wayne Shorter wrote this one, and structurally it is remarkably similar to the modal form that John Coltrane brought to his version of “My Favorite Things.” The piano of Walton is key. In much the same way Kind Of Blue that the piano of Bill Evans “led” Miles’ group through the tracks on ue, so does Walton’s here. It is a remarkably subtle display of directorship.

The reinterpretation of standards was all the rage back in those golden New Frontier days of jazz, and some great things came out of it. “I Didn’t Know What Time It Was,” written by Rodgers and Hart, is an example. Wayne Shorter is afforded ample space to stretch out, and as he does one cannot help but notice the empathy he and Walton enjoy. The only contemporary comparison I can make is to that of Coltrane and McCoy Tyner.

The original Riverside LP closed out with “On The Ginza.” Like “Ugetsu,” “On The Ginza’s” title references Japanese culture. I really have no idea why, while both tracks are phenomenal, I do not hear anything that could be traced to Japan in them. In any case “On The Ginza” provides everyone with excellent solo opportunities and was a great way to cap off the show.

With this remastered reissue of Ugetsu, we are treated to four bonus tracks. Time permitting, they certainly would have made the cut on the original release. “Eva” is a beautiful ballad, and is not anything like the previous six high-energy tracks. It definitely brings a better perspective to the evening’s proceedings.

Curtis Fuller wrote “The High Priest” in honor of Thelonious Monk, and it is nice to hear it here. Again, it adds to a richer understanding of the night with the somewhat angular, dissonant tones utilized to pay tribute.

It is interesting that the original liner notes mention that Blakey rarely took drum solos, and that there is nary a one on Ugetsu. There was at least one recorded that night, however, although it was not released at the time. This came during George Shearing’s “Conception.” Not only does Blakey take an honest to goodness solo turn, but so does stalwart Reggie Workman with his bass. Finally there is a short nod to Miles Davis, with his traditional closing (at the time) tune, “The Theme.”

Art Blakey’s status as a jazz legend was already set in stone when this album was recorded, so it is really no surprise just how good it is. But it truly is a powerhouse performance, from a band who together and individually would continue to shape the course of music for decades to come. Ugetsu is the real deal, folks — seriously cool beatnik-coffeehouse jazz for your pleasure.


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Music Review: Mike Watt - Hyphenated-Man

Hyphenated-Man certainly describes Mike Watt. In fact, the man is so hyphenated one wonders where to begin. Mike Watt - punk legend, Mike Watt - bass player extraordinaire, Mike Watt - founder of the Minutemen, the list could go on and on. Mike Watt - survivor, may be the most appropriate descriptive term. It is a phrase I doubt any of his famous fans (and the rest of us) would argue.

Watt’s new album, Hyphenated-Man, is his finest solo effort yet. It also seems to be a bit of a homage to the Minutemen’s most famous set, Double Nickels On The Dime.

Mike Watt’s 30-plus year career as a musician began in the late seventies, when he and best friend D Boon got together in their hometown of San Pedro, CA. After recruiting drummer George Hurley, the trio christened themselves the Minutemen. Their third album, Double Nickels On The Dime, was released in 1984. It was a double-LP containing 45 songs, from a wide variety of sources. Although it never garnered the kind of mass attention that Prince’s 1999 did, Double Nickels has steadily grown in critical stature over the years, and remains the band’s best seller.

One year later D Boon was killed in an auto accident, and the Minutemen were tragically over. Since 1985, Watt has remained active in music. He formed a new band, fIREHOSE with Hurley, recorded as a duo with Kira Roessler as Dos, toured as a member of The Stooges, and has four solo albums out now. Of all of these projects, Hyphenated-Man is the only one that seems to address the enduring legacy of Double Nickels On The Dime.

The similarities are pretty obvious. The single disc Hyphenated-Man contains 30 songs in total, all running around the two and a half minutes mark. Stylistically, the two recordings have a great deal in common as well. One of the reasons Double Nickels is so revered is the fact that it dabbled in so many genres - thought to be punk suicide back in the day. Hyphenated-Man takes a broad approach also.

Opening track “Arrow-Pierced-Egg-Man” references one of Watt’s acknowledged heroes, the late Captain Beefheart. In fact, he offers credible variations on the good Captain repeatedly. “Hammering-Castle-Bird-Man,” “Finger-Pointing-Man,” and “Thistle-Headed-Man” are but three more outstanding tracks that seem to invoke the spirit of Mr. Van Vliet.

There is much more territory to be explored on the album. Another “controversial” influence for rigid punk rockers in the early eighties was that of John Fogerty and Creedence Clearwater Revival. Watt remains an unabashed fan, most notably on “Hollowed-Out-Man.”

A number of other musical sounds are explored on the disc, including funk, country, spoken word, even a bit of jazz. A marked difference between Double Nickels and Hyphenated-Man is the fact that the former was simply a collection of songs, while the latter is referred to by Watt as a “punk opera.”

The inspiration is reportedly the paintings of Hieronymous Bosch, with each of the titles being Watt’s nickname for the surreal characters who inhabit Bosch’s world. The return to the short song format was inspired by Watt‘s work on the documentary of the Minutemen titled We Jam Econo. Both the film and Hyphenated-Man are reminders of just how talented this founder of So-Cal punk has always been.


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Music Review: Paolo Fresu/ A Filetta Corsican Voices/ Daniele di Bonavetura - Mistico Mediterraneo

Although Paolo Fresu’s most recent collaboration with Ralph Towner Chiaroscuro was incredibly well received, his latest, Mistico Mediterraneo, is something far more challenging. While the trumpeter’s name appears first in this collaborative effort, the recording is dominated by the incredible seven-voice ensemble known as A Filetta Corsican Voices.

A Filetta’s history stretches all the way back to 1978. Jean-Claude Acquaviva joined them during the first month of their existence, and now leads them. In the following decades they have moved far beyond their original mission of reprising revered Corsican polyphonic-vocal music. They are a living, breathing unit, continuing to update and develop new music constantly.

Paolo met them quite a number of years ago, and had always harbored a desire to work with the group. When the opportunity of adding Daniele di Bonaventura on the bandoneon arose, the project Mistico Mediterraneo began to take shape.

The 13 tracks that make up the disc are led by the wonderful a cappella vocals of A Filetta - but both Fresu and Bonaventura do an excellent job in improvising as well. In fact, their improvisations around the fixed points A Filetta sang in the compositions are what make Mistico such an enduring recording.

A brilliant example of this give-and-take interplay comes early on with the track “Da te a me.” Paolo’s high, lonesome style complements the vocals perfectly, then when Daniele’s bandoneon comes in for an instrumental duet the results are simply beautiful. The vocals, trumpet, and bandoneon make for a wonderful mix of sounds. Although the collaboration might look to the outsider as a difficult one to pull off, the participants’ respect for each other and the music is absolute. It is a gorgeous noise they produce.

“Gloria” is another stunning success. Opening with an upbeat trumpet solo from Paolo, soon Daniele joins with his bandoneon, setting the stage for A Filetta’s triumphant, rhythmic chanting of “Gloria in excelsis Deo…” A particular favorite for me is “Gradualis,” co-written by Daniele di Bonaventura and Jean-Claude Acquaviva. Again, all three components in the endeavor are most sympathetic to each other, with the whole adding up to much more than the sum of its parts.

The final track, “Sanctus,” is credited to Daniele di Bonaventura alone, and says a lot about the man. This is certainly no bandoneon solo piece, although the instrument is definitely present. It is the gorgeous (and very Miles Davis-ish) trumpet solo one notices the most. Paolo has readily admitted that the sound of Miles on his landmark Sketches Of Spain has been a major influence, and we certainly hear it here. A Filetta are a world-class vocal unit - their brilliance throughout Mistico Mediterraneo is a joy to behold.

This is an album with such taste, forward vision, and grace that I simply cannot recommend it highly enough. It was clearly a treat for those involved to make, and an incredibly satisfying set of music for the audience. Very highly recommended.

Article first published as Music Review: Paolo Fresu/ A Filetta Corsican Voices/ Daniele di Bonavetura - Mistico Mediterraneo on Blogcritics.

DVD Review: The Genius Of Design

Ponder the word "design" for a moment. Practically every object in the world we live was designed by someone, somewhere. As Denis Lawson, narrator of the new two-DVD five episode set The Genius Of Design notes, “The story of design offers an alternative history of the modern world.”

The Genius Of Design looks at this phenomenon in depth. What emerges are some wonderfully informative discussions of the objects we all take for granted, and how (for example) you favorite chair came to be built the way it is.

The first episode is titled “Ghosts In The Machine.” The origins of design are shown with individual craftsmen designing and building their products. This is illustrated perfectly with the potter - whose cups, bowls, vases and other ceramic objects are handmade, and one of a kind. With the arrival of the 20th-century industrialists, the art of design was taken from the workshop and put into effect on the factory floor. Standardization became the rallying cry. As Henry Ford once famously said about his Model T cars “It is available in any color, as long as it is black.”

Episode Two, “Designs For Living” shows how the social and landscapes of America and England had changed - and how the art of design evolved with them. Here we see the cult of Modernisms (as exemplified by Bauhaus) reshaped architecture and consumer goods. One of the great elements of design that was introduced in this time was how the designers would put non-essential accessories on ordinary items, to give them a sense of motion.

There is also an original desktop black telephone from 1937 - the Model 302. “This was the American telephone for decades, used by upwards of a 160 million Ma Bell customers by the middle of the century.” At around the same time, Wally Byram was producing the first RVS: his famous Airstream. By melding the artistic elements of design with the practical functions of the product, these items were the definitive versions for decades.

These consumer items appealed to people by appealing to their utilitarian, and personal preferences. As Lawson notes at the beginning of episode three, “A Bluprint For War,” “Here’s what they don’t teach at art school, when nations go to war design goes to the frontline.”

As we move forward in the Twentieth century, and into the second World War - aesthetics are clearly the least of our considerations. In a total war environment there can be only one goal - victory. The second world war became a brutal design contest. “In the lead up to the Second World War, nobody thought as deeply about the strategic power of design as the Nazis,” says Lawson.

The designs of objects are neither good nor evil in and of themselves. It is what they are used to do which defines their purpose. The Third Reich were filled with genius level artisans, who were able to create proto-types, and useful weaponry which allowed them such initial superiority in the first years of World War II. It is a sobering thought when once considers the stakes in play during the war.

In 1936, the prototype of a new German car was introduced, the Volkswagen Beetle. Designed by Ferdinand Porsche, it would become the most successful car in the world. As explained by the narrator, “Beneath the Beetle’s simple, yet striking design - lay a master class in the German pursuit of excellence.”

In Episode Four, “Better Living Through Chemistry,” we find a much different group doing battle. In the first scene, we find a group of ladies at a Tupperware party, pondering one of the mid-centuries’ most ubiquitous new products. With plastic Earl Silas Tupper created one of the most durable products of the twentieth century, Tupperware.

The overwhelming public desire of “clean up” after such a hideous event as World War II became personal. “Airtight” Tupperware seals were seen as a way domesticate such unruly items as leftovers. This was popular in the household. But the desire was to remove all of the unruly, messy, and unregulated elements of life from society.

The Bauhaus mantra that “Form should follow function” was thoroughly re-embraced by post-War German designers, and is typified by the Braun Corporation. Lead designer Dieter Bram stripped away all artifice, and simplicity remains the optimal look for thousands of products of the past 60 years.

Where plastics enabled designers to create virtually unhindered in terms of shapes and styles, and the German modernist-minimalist unadorned look became hugely popular in the post-War world, it was the Japanese whose influence has been the most significant. Since the miniature transistor radio, introduced in 1956, the march to create smaller and smaller products has been relentless. In a very real way, Japan built itself out of the rubble of World War Two by designing and marketing the “portable lifestyle.” Thus the Walkman, the Discman, laptop computers, and the like have overwhelmingly changed peoples lives in the present day.

The fifth and final episode “Objects Of Desire” opens with LP cover artist Peter Saville who has designed sleeves for Joy Division and New Order, among others. The world of designer and fine artist have now come together, and at an auction of the Lockheed Lounge the designers unique chair sells for just under a million pounds.

The series ends with a discussion of the computer revolution over the past 30 years, and the many design improvements that have been made to them over time, and what is still being worked on. There is even a question towards the end as to how connected is too connected in the world we live in. The computer graveyards shown is pretty remarkable, in that it shows landfill after landfill brimming with already worthless computer components.

Recycling through the “cradle to cradle” system is one way in which this endless cycle of improvement leading to the discarding the old sounds like a promising way towards the future. But as ever, nobody know what will eventually appear and the new face of normal.

As for bonus materials, there are text based biographies of influential designers profiled in the series such as Eal Silas Tupper, Jonathan Ive, Ferdinand Porsche, and Le Corbusier to name a few. There is also an informative 12-page booklet featuring an article titled “Behind The Scenes At Bauhaus,” “The American Factory Rethought,” and “Famous Design Flops.”

Most of us go through our days barely noticing the objects around us. The Genius Of Design is a reminder that even seemingly most mundane item one uses was developed through a great deal of time and thought. In short, the series will make you think, in a most delightful way about the world around you.


Article first published as DVD Review: The Genius Of Design on Blogcritics.

DVD Review: Upstairs, Downstairs: The Complete Series - 40th Anniversary Edition

Upstairs, Downstairs is the most popular and successful British television series of all time. The show debuted in 1971, and ran for five incredible seasons. It has been seen by an estimated one billion people in 40 countries over the years - and won a slew of awards including seven Emmys. The Acorn Media Company has outdone itself in celebration with Upstairs, Downstairs: The Complete Series - 40th Anniversary Collection

This is a pretty incredible set, containing 21 DVDs, including a disc full of exclusive bonus features. Unlike many television series, each season of Upstairs, Downstairs was conceived of as a stand-alone individual series. The first spans the years 1903 to 1909, the second 1908 to 1910, the third 1912 to 1914. The fourth series covers World War I from 1914 to 1918, and the fifth and final season is concerned with the years 1919 to 1930.

It is a remarkable storytelling achievement, made all the more impressive as nobody had ever attempted anything like it before. In the most basic terms, Upstairs, Downstairs explores the lives of an upper-class British family (upstairs), and those of their servants (downstairs). One thing becoming instantly clear is that the hierarchical roles of those who live upstairs are reflected by the staff living downstairs. The endless variations of the dynamics between all are uniformly fascinating.

One element of which I was previously unaware is that due to a British technicians strike, the first six episodes were filmed in black and white. When the strike ended, the cast and crew went back and re-shot the pilot “On Trial” in color. The other episodes were never re-done however, and appear here in the original black and white. Evidently the original pilot has been lost however, although as one of the extras the alternate version of the episode is included - with a completely different ending.


Upstairs, Downstairs broke all kinds of new ground during its run. There were episodes dealing with suicide, homosexuality, extra-marital affairs, unwanted pregnancies, and many many other television taboos. Far from being a British soap opera, which a lot of people mistakenly assumed, each episode was a completely stand-alone work - and the writing was fantastic throughout.

Every series from the five years the show aired had its merits, but I think series four was the most poignant. The 13 episodes directly dealt with World War One, and the years 1914 to 1918. Everyone in the house, both upstairs and downstairs were affected by the war in one way or another. Many of the class distinctions fell away between the characters as they were all faced with great loss and sacrifice.

It is little surprise that Upstairs, Downstairs were honored with a plethora of awards over the years. These include seven Emmys, two BAFTAs, a Golden Globe, and a Peabody Award.

In addition to the 68 original episodes, spread out over 20 DVDs, there is also a full disc of bonus materials, for a total of 25 hours of extras. These include a five-part behind the scenes documentary (one about each series), a 25th anniversary retrospective, loads of interviews with stars, writers, and others involved, and much much more.

All in all, this treatment of Upstairs, Downstairs is as thorough as one could possibly be. Amazingly enough, after forty years, this little British show that nobody thought had half a chance of making it past six episodes has become an unqualified television legend. There is no better way to experience it than with the Upstairs, Downstairs: The Complete Series package. It is an incredibly beautiful set.



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