The cover of Peter Doyles Echo and Reverb is promising as hella red-rock mesa (New Mexico?) into which intrudes a vintage Shure microphone, next to an intriguing subtitle: Fabricating Space in Popular Music Recording, 19001960. Im a sucker for such oblique, scholarly tomes; I mean, now that the Beatles story has been told a hundred times over, whats left? Auspicously, theres a university-press logo on the spine and, of course, no illustrations. Plus, very small type.
1974 was the year Bowie got into Burroughs, dyed his hair red, and recorded Diamond Dogs. He’d initially wanted to turn George Orwell’s dystopic novel 1984 into a musical, but when Orwell’s widow refused him the rights Bowie decided to scrap the idea (thank god). Still, the theme of coercive televisual propaganda fits nicely enough into our current political climate to make this reissue’s link with Orwell queasily appropriate.
Dimensions in Music: From Mambo to Salsa, Part Five, IP Hilton Ruiz—Learning with los Grandes—Plying New TerrainBy Alan Lockwood
On June 6, pianist and bandleader Hilton Ruiz settled the debt we all attend. Ruiz studied with Mary Lou Williams, then worked with Rahsaan Roland Kirk, Jackie McLean, and Tito Puente; his originals graced the soundtracks of Crimes and Misdemeanors and American Beauty, and his chops dazzled at April’s SÃ¡bado de Gloria all-star jam in Brooklyn.
Ze Cats Meow: Pamela Z: New Strategies with DJ Spooky at Symphony Space, the Cutting Room, and the StoneBy Ellen Pearlman
Sporting spiky, orange-tipped dreads, and gesticulating like a rainmaker; conjuring invisible forces with her impeccable bel canto voice, feedback loops, and a MIDI-controlled device called the BodySynth, Pamela Z recently parachuted into town from San Francisco.
On a recent Friday night at Webster Hall, Os Mutantes made their first-ever appearance on a U.S. stage. Thirty years after the Brazilian band’s original lineup split, they were back in remarkable form with a ten-piece band that literally entranced the crowd, while showing the Beck fans in the audience who it was that paved the way to his postmodern sound.
Sometimes it sounds like youre being attacked by seagulls, sometimes it sounds like a dog that was left out back and wants to come inside, and sometimes it sounds like a stomach that wants food. Jazz musician Matt Lavelle, on the phone at the Rail office, is talking about the cuica, the Brazilian friction drum first used in Africa to attract and hunt lions. He brought one to Stars Like Fleas, a band to which an instrument like this is no stranger.