The solo project of Owen Davis. Mesozoic combines instrumental Post Rock with ambient slush and stolen words to create something which is profoundly and decisively sound.
Hymn Binding has a musty scent that rises up from its ink-stained pages (or inky bars of music) once opened, but it has an inner strength, and an inner resolve, in spite of its age-old music. Solemn strings openly roam through its shadowy tracks, searching for something lost – they have known heartache and the desperate tug of despair – but the ill-light only deepens their disappointment as the unfulfilled strings return home with empty hands. Aged piano melodies perform a melodic ballet beside the strings, and occasionally a clearer electric guitar will cut through the low, overcast clouds. From The Mouth of the Sun’s third album – and their first for the excellent American label, Lost Tribe Sound – has a gloomy, mournful air to it, but its music weakly stands up to the slow freefall of gradual decline. Systems are failing. Everything looks to be crumbling, fencing the music in, but its rust still darkly gleams. The piano is dusty and creaking, but wise, and the strings seek them out.
In 1980 Sun-Ra fanatic Rick Steiger organised what was to be the "Greatest cultural event going on in America at that time" according to Sun Ra himself. The concert started the day after Christmas and evolved into a 6-day, 11-performance residency that rocked the Detroit Jazz centre to it's boots. These are nine tracks from those sessions, capturing the Arkestra in full flight with some help from local musicians Tani Tabbal, Ali Mora, Jaribu Shahid and Reggie Fields. Pure vibes!!!
Recorded on August 26, 1965 (and not released until after his death in heavily edited form), Sun Ship was the final recording by John Coltrane's quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one.