Skip to main content

Fly Or Die II

Sitting at the table writing a letter one Friday evening I heard something on the radio that made me put down my pen and pay close attention. It was 'Love Song' by jaimie branch, one of a few tracks from the album Fly or Die II: Bird Dogs of Paradise that Iggy Pop, no less, had played on his weekly BBC radio show. After watching some clips of branch and her band on-line I wasted little time ordering a copy of the album on CD. Of all the recent jazz or jazz-infused recordings I've heard, this is the one I like best.

Branch plays trumpet, and contributes vocals on two of the tracks. Conventionally enough, her quartet also includes a bassist (Jason Ajemian) and a drummer (Chad Taylor). Much less conventionally, there is also a cellist (Lester St. Louis). Though the group is based in New York, the album was recorded in London. 

There is the eerily low-key 'Birds of Paradise'. There are the hypnotic grooves of 'Simple Silver Surfer' and 'Nuevo Roquero Estéreo'. And there are the impassioned 'Prayer For Amerikkka' and the showstopping 'Love Song' with its dedication "This one goes out to uhh - all those assholes - all those clowns out there --- you know who you are"). I love this album!

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk