Bayeté (Todd Cochran): “Worlds Around The Sun” (1972/2014) CD Review

Todd Cochran’s debut album, Worlds Around The Sun, which he recorded and released under the name Bayeté, is an excellent collection of original compositions mixing jazz and funk. For some reason it was not released on CD until this month. This CD issue contains two previously unreleased bonus tracks, including the phenomenal “Shine The Knock,” a wild, energetic, delicious twelve-minute track. New liner notes include an interview with Todd Cochran about these songs. I appreciate that the liner notes also say “Bobby Hutcherson appears courtesy of himself and Blue Note Records.” Usually it just lists the label, as if the musician had no say in the matter. And yes, Bobby Hutcherson plays vibes and marimba on this album.

The music contained on this album has a beautiful and intoxicating freedom about it, without being chaotic, as some jazz tends to be when it tries to attain heights of freedom. There are rhythms and grooves, but the music itself has a freeing quality. Sometimes music can lift you out of yourself, take you on a journey if you let it. There are times when listening to music that I feel completely unrestricted, and it comes as a surprise that I can’t levitate or pass through walls. Bayeté's music taps into that, contributes to that sense. I wonder if it will have the same effect for you. I hope so. Let me know.

“It Ain’t”

The album’s first track, “It Ain’t,” opens with pretty, uplifting tones. But it’s Todd Cochran’s work on piano that I really love on this track, and the way the piano and percussion interact. It’s like dancing, except like two dances colliding and merging. The instruments interact in surprising ways on this track, like a real and honest conversation. And I love the bass solo, with just touches of piano over it. That leads to a good drum solo.

“Free Angela (Thoughts…and all I’ve got to say)”

“Free Angela (Thoughts…and all I’ve got to say)” is a tune inspired by and about Angela Davis, a woman who was once on the FBI’s Ten Most Wanted Fugitive List. This is a very groovy and funky number, with a surprising “Free Angela” chant coming in early on. But the instruments speak just as clearly and eloquently as the voices. This is an exciting and engaging composition. Every track on this release is really good, but this is one of the highlights. It has sort of a false ending, as it fades out a few minutes in, then changes, like there are other things to say on the subject. And these are expressed as more relaxed, thoughtful reflections – less urgent, perhaps less emotional, like there has been some time to process what’s happened.

Santana recorded a version of this tune a year later. This was not the only song inspired by Angela Davis. John Lennon included a song title “Angela” about her on Sometime In New York City, released in 1972. The Rolling Stones recorded “Sweet Black Angel” about Angela Davis, including it on their 1972 record Exile On Main St.

“Njeri (Belonging to a warrior)”

“Njeri (Belonging to a warrior)” for me often feels like floating, even flying above the world, and being able to look down with some detachment and with some love. And then, interestingly, other sections of the song feel to me like they’re coming from the other perspective of being down amid the busyness of living and looking up and wishing to rise above. And then there comes an interaction between the two perspectives that is beautiful, even comforting. That’s just my take, of course.

“I’m On It” then has a great, funky groove, and vocals. I love the way this album combines jazz and more funky elements. It’s great that “Njeri” is followed by this much earthier groove. Perfect.

“Bayeté (Between man and god)

“Bayeté (Between man and god),” the album’s big track, bears the same name that Todd Cochran gave himself at the time of this album. The word is defined in its parenthetical title: “Between man and god.” The track begins with a kind of urgency, the drums setting the pace and drive. There is something hurried early on, but the nearly soothing repetition of the bass line changes it from feeling rushed to almost a sort of dance. And of course the tune changes from there, exploring several avenues but never straying too far afield, and maintaining a sort of flow. Toward the end you realize you’re completely caught up in it, and it’s nearly magical. It’s a tremendous piece of music, and I’m particularly fond of Todd Cochran’s work on keys.

“Eurus (The southeast wind)”

The album then takes on a mellower vibe with “Eurus (The southeast wind).” Things are a lot slower, but the bass at moments still presses against the slower atmosphere. It takes a few moments, but this atmosphere overtakes you and carries you along with it, lightly, like you weigh nothing. And eventually your colors blend with those of this composition, and then it’s over.

Bonus Tracks

This CD issue of Worlds Around The Sun contains two bonus tracks, both previously unreleased. The first, “Phoebe,” is a cool jazz piece with a great pace, the horns soaring and singing. It gets pretty wild at moments, and also includes a bass solo.

As cool as that track is, it pales next to the supreme excitement and brilliance of “Shine The Knock,” the second bonus track. This is twelve and a half minutes of bliss. It has a great funky base from which it builds and flows and climbs and explodes. This is a fantastic and joyous jam. Wow. And wow. And again, wow. And to think this wasn’t ever released before. Insane.

CD Track List

1. It Ain’t
2. Free Angela (Thoughts…and all I’ve got to say)
3. Njeri (Belonging to a warrior)
4. I’m On It
5. Bayeté (Between man and god)
6. Eurus (The southeast wind)
7. Phoebe
8. Shine The Knock

This special re-issue of Worlds Around The Sun was released on March 11, 2014 through Omnivore Recordings.

The Polkats: “Live From Highlandtown” (2014) CD Review

The Polkats formed in 1988, playing traditional polkas and original material. They released two albums in the early 1990s, were named “Best Unsigned Band In America” after a contest sponsored by Musician Magazine, and then broke up in 1995. On March 3, 2012, the band played a reunion concert at The Creative Alliance in Baltimore. Live From Highlandtown is a recording of that show.

This CD features kind of a wild selection of music, combining traditional polkas, folk, country, rock, and some blues. I admit: I love the accordion. (One of the best bands I ever saw in concert was Josh Lederman Y Los Diablos, and certainly a big part of the attraction was John Buczkowski on accordion.) And there are plenty of instrumental tracks on this CD to feature the accordion, including a waltz. But for those who are not such big fans of that instrument, don’t worry, there is plenty else here to please you. (However, if you hate that instrument, you’re kind of shit out of luck here. Give it a listen anyway; this CD might change your mind.)

Two of the band’s members have gone on to form The Stone Hill All-Stars, and other members of that band sit in as special guests on these tracks. (The Stone Hill All-Stars recently released a live album as well, titled Live.)

“La Norteñita”

You know it’s going to be something special when a live CD opens with someone saying, “We’re going to start with a polka.” And no, I’m not being sarcastic. Of course, with a name like The Polkats, it should come as no surprise that they’d open with a polka. And while “La Norteñita” is led by accordion, there is the addition of an electric guitar providing a rock edge to this instrumental tune.

The Polkats follow that with another instrumental, “Mi Cafetal.” Again, it’s led by accordion, but with the guitar bringing the song just a bit closer to rock and roll. Just a bit.

“Columbus Stockade”

Things start to get cooking with “Columbus Stockade,” a song written and originally performed by Darby And Tarlton in the 1920s (then titled “Columbus Stockade Blues”). This track features some great bluegrass/country vocals, as well as some cool work on harmonica by Tom Chalkley. This is one to get folks up and dancing, and includes a good little jam.  “Well, you can go and leave me if you want to/Never let me cross your mind/If in your heart you love another.”

“Blanket Of Misery,” a tune written by Mike Barth, features a good groove and nice little hooks on guitar. “She hates my drinking/But if she knew what I was thinking...”

“Flor Marchita”

“Flor Marchita” is a kick-ass instrumental tune mixing tradition fare with an attitude and a delightful energy, and is one of my favorite tracks. This one was written by Narciso Martinez.

“Song From Jail”

“Song From Jail” is more of a folk tune, this one written by Paul Margolis. It’s a thoughtful song, with a relaxed vibe, and lines like, “I could see the time slipping through my closed hands” and “I stop and stare and hope there’s more out there/But I can’t cry anymore.” And I particularly like this line: “I’m not the man I thought I’d be, but I’m not the man I was.” Nice, eh? Also, this track features Lou Shach on harmonica.

“Catwalk”

“Catwalk” is a very cool instrumental track with jazzy elements. Mixing accordion and saxophone works so well, with wonderful results. And then the pace suddenly picks up, something I’m kind of a sucker for. This one was written by Mike Barth, and is one of my favorite tracks.

“The Savings And Loan Crisis” is another cool instrumental whose pace suddenly picks up, that one written by Paul Margolis.

“A Thousand Times”

“A Thousand Times” is a country song about a woman doing a man wrong, leaving him. It opens with these lines: “A thousand times you said goodbye/A thousand times I’d like to die/You don’t think I’m counting, but I’m going crazy.” Country music is often the perfect vehicle for these thoughts, as it’s so adept at tackling and expressing that subject and those feelings. “A thousand times you’ve gone away/And I can’t believe a word I say/About how I don’t miss you.” “A Thousand Times” was written by John Shock.

"Low Man"

"Low Man" is a fun tune, taking a man's misery and turning it to a joyful experience. “Yes, I’m the low man on the totem pole/My heart is black as coal.” And I dig these lines: “Well, I love you so much it hurts me/I love you so much, baby, that it hurts you too.” John Shock wrote this one.

"While You Were Gone"

The fun then continues with another John Shock tune, "While You Were Gone." This one has a bluesy edge, and is about what he did while his woman was gone: "Well, I hit the bottle, and the bottle hit me/I got real drunk for a week/And then I ran up debts/I wrote bad checks/I smoked twenty cartons of cigarettes/And I kept playing my favorite song/That's what I did while you were gone." I dig the instrumental jam section.

CD Track List

1. La Norteñita
2. Mi Cafetal
3. Columbus Stockade
4. Blanket Of Misery
5. Flor Marchita
6. Song From Jail
7. March Of The Little Men
8. La Tuna
9. Never Havin’ You
10. Please, Marie
11. Catwalk
12. Bobby Sands
13. A Thousand Times
14. Born Free
15. The Savings And Loan Crisis
16. Mi Negra Ausencia
17. We Won’t Be Afraid Of This World Anymore
18. Low Man
19. While You Were Gone
20. The Four Mills Brothers

Live From Highlandtown is scheduled to be released on April 19, 2014 at the band's next reunion show.

The Stone Hill All-Stars: “Live” (2013) CD Review

The Stone Hill All-Stars’ live CD, appropriately titled Live, offers a delightful mix of rock and jazz elements, with a cool jam band approach and great grooves. There is also a bit of country, like on “In A Strained Rhythm,” and folk (there is a nod to a Simon & Garfunkel song in “On The Banks”), and even reggae on a track like “No Engine On This Train.” This CD contains 74 minutes of music, all original material, most of it written or co-written by Paul Margolis. These songs have some unusual lyrics, often delivered as by a storyteller or poet rather than singer. This music brought a smile to my face almost immediately when I first put the disc in. I know I’ll be turning to this disc often. The Stone Hill All-Stars formed in 2008, though members had played together before in The Polkats. These tracks were recorded in Baltimore at a venue called An Die Musik on August 4th, 2012.

“Dizzy”

The album opens with “Dizzy,” whose lyrics come at a quick pace, telling a tale as well as creating an atmosphere. There is something timeless and European about the vibe of this song, and it has a good groove. And I absolutely love the piano, particularly in the instrumental sections. This track is absolutely delightful. The vocal line reminds me a bit of Phish (on this track and others). Here is a taste of the lyrics: “In your bedroom, blue neon from the street/illuminates each photo on the wall/The branches from the maple tree scratch against your window/The screech of brakes, the building quakes/Your gait impaired, your tousled hair obscures/the candlelight glare off your earrings/that I bought you for your birthday/shiny silver, purple bauble/a feeble offering from the kiosk at the entrance to the Towson Mall/Hey, it’s bedtime.” And toward the end, it has something of a jam quality (I’d actually like it explored more, and wish the track were longer).

“Daybreak Until Seven”

“Daybreak Until Seven” begins like a sweet tease, with little playful touches, hints of the song. There are then hints of reggae in the rhythm, but then juxtaposed with more chaotic fragments on piano – a great combination. And again, this song has some interesting and unusual lyrics, such as these lines: “a chair like a saddle, a keyboard like a paddle,” “Arms across your chest, defiant as you wait/Elegant in motion like an elephant being weighed/Stumbling across the city,” and then later “Arms across your chest, defiant as if you’re waiting for something/Elegant in motion, like an elephant frozen amid commotion.” There is a really nice, somewhat mellow but intricate jam toward the end.

“I Got In Trouble”

“I Got In Trouble” begins with some nice jazzy work on piano. Then the song takes on a very catchy, positive groove. The lyrics are delivered in a nearly spoken-word style. “Hey, ain’t it funny how time has emptied all this space/I dreamed that hell froze over because that’s when you said you’d even think about seeing me again.” At the end he asks, “Ain’t it funny how time has faded,” then adds, “Please say you think it’s funny how time has faded,” which is a great touch. The song takes on more of a New Orleans vibe when the horn comes in, and it’s absolutely wonderful. Craig Considine plays trombone on this track.

“Watching The Waves”

“Watching The Waves” is a mellower, more serious (and totally effective) song. Here is a taste of the lyrics: “Little talk as we sift through the ashes/Lift buckets as if filled with sand/Our skin growing tan.” And I love the way John Shock’s harmonica sneaks up on us; it’s a really interesting use of that instrument, and kind of makes you hold your breath to see what will happen, where it will go.

“Corporal Smith”

“Corporal Smith” begins with a fantastic groove. This one features Lou Shach on harmonica. He adds a nice flavor at the beginning, then comes in later for a lead part during an instrumental section, which is great. Craig Considine plays trombone on this track, and Dan Naiman plays saxophone. The piano also has a loose, jazzy feel. “Corporal Smith” was written by Dan Naiman and Paul Margolis.

“In A Strained Rhythm”

“In A Strained Rhythm” begins with a bit of stage banter about the song’s origin. Actually, it’s placed at the end of track #9. “It was just me and him in an empty hallway, so again I’m glad you’re all here.” This one is a bit of country, with also a bit of a New Orleans flavor, so yeah, overall it has a really good, fun feel. I totally dig the accordion. 

"On The Banks"

"On The Banks" has more of a folk feel, and is mellower, with guitar and vocals to begin the track.  “A fire fading in the hearth/A scar upon the heart/Seems to feed the flames too slowly.” When the song kicks in, it takes on kind of a sweet vibe. It's a really nice song, with some good lyrics, like these: “I hear time is a river/Baby, if so I'm sinking like a stone/From the weight all these broken bones.” John Shock's work on harmonica adds to the song's sweet feel.

This song has a reference to Simon & Garfunkel's "The Boxer," with the narrator distracting himself by singing lines from it.  “Walking amid the crowd, I distract myself by singing/And every glove that laid him down or cut him till he cried out.”

"Meet Me In The Morning"

"Meet Me In The Morning" has a great groove with some nice work on bass. There is also some really interesting interplay between Lou Shach on harmonica and Dan Naiman on saxophone, in a cool instrumental section. And later John Shock provides really nice work on keys.

"Happy Again"

"Happy Again" is the only song that Paul Margolis didn’t have a hand in writing. This is a strange and engaging song about a relationship, with the opening lines being, "If you'll forgive the many times I've hurt you/I'll forget you ever said goodbye/We'll pick up our happy life together/When you come back to me and you forget that other guy." This was written by John Shock, with his piano supplying the rhythm through large portions of it. And I love the repeated, insistent (but not convincing) delivery of "We'll be happy again, happy again, we'll be happy again, happy again, happy again." Great.

"No Engine On This Train"

This live album ends on a happy note with a reggae tune, "No Engine On This Train." I love the harmonica playing over that familiar rhythm. This one, like the others, boasts some interesting lyrics, such as these lines: “There is no present to this tense” and “There is no fact of which I am certain/There is no design on this white T-shirt.”

CD Track List

1. Dizzy
2. Daybreak Until Seven
3. I Got In Trouble
4. Slate Gray Day
5. He’s The Weatherman
6. Watching The Waves
7. Corporal Smith
8. The Match Shaking
9. 96 Days
10. In A Strained Rhythm
11. McCarthy’s In The Second Row
12. On The Banks
13. Meet Me In The Morning
14. Happy Again
15. No Engine On This Train

Musicians

The Stone Hill All-Stars are Dan Naiman on bass and saxophone; Hoppy Hopkins on drums and vocals; John Shock on piano, accordion, vocals, and harmonica; Paul Margolis on guitar, vocals and bass; and Tim Pruitt on guitar. Joining them on this release are Lou Shach on harmonica and Craig Considine on trombone.

Live was officially released on August 4, 2013.

Leo Kottke's Dunk Tank Summer Camp

Leo Kottke is a seriously talented guitarist, and I became a fan of his more than two decades ago when I picked up a couple of his records (yes, on vinyl). He has now announced his own seminar and summer camp. Called Leo Kottke’s Dunk Tank, it will take place from August 4 to August 8 at Cambria Pines Lodge (reminding me of the first record of his I ever bought, Chewing Pine) in Cambria, California.

From what I’ve read, it sounds like attendees will be able to get one-on-one time with this incredible guitarist. It’s a musical retreat, but folks at any level of experience are encouraged to attend (even those with no experience who are simply fans).

Members of Los Lobos – David Hidalgo, Cesar Rosas and Steve Berlin – will be joining Leo Kottke, so there will certainly be some musical magic up in Cambria this summer. (Recently, the first Los Lobos album – Si Se Puede! – was re-issued digitally.) I hope someone records those jam sessions, because I would love to hear them.

Cambria is a coastal town near San Simeon, approximately halfway between Los Angeles and San Francisco. Tickets for this event are on sale now at Leo Kotte’s Dunk Tank.