JANDEK, ‘The Wizards Hour’ (Corwood cd 0858)

JANDEK, ‘THE WIZARDS HOUR’ (Corwood CD 0858), released 2023

recorded in early September 2009 and originally broadcast on WNYU-FM radio station

personnel (according to the Jandek Concert History website):

Jandek (Sterling Smith), guitar/gong/keyboards;

Karl Bauer (of Axolotl, someone whose work I followed closely in the early 2000s), viola/keyboards/drums;

Tom Carter, bass;

Marcia Bassett, guitar, vocals;

Pete Nolan, drums, trumpet, viola

1. The Wizard Awakens 20:44
2. The Wizards’ Afternoon 24:51
3. The Wizards’ Dream 16:34

Hard to believe it’s 15 years since 2009. That was an excellent year for Jandek live performances–there were TWENTY (!!!), and except for the July 2009 tour of Northern Ireland with Heather Leigh and David Keenan, the musicians were different with every performance. Sterling would throw himself into the mix with top-shelf experimental/free-improv musicians, both in North America and overseas, and they would see what happens. It took Jandek/Sterling out of his comfort zone and allowed him to take what he had to offer and combine it into a gumbo in which he was an element but not the sole or even primary determiner of the final product.

This was even clearer in performances that were either all-instrumental or primarily instrumental, as the content of Jandek’s stream of consciousness texts was not there to anchor the performance. Such is the case here, a live-in-the-radio studio performance originally broadcast on WNYU radio in 2009. Running about an hour, this performance soon appeared online, and I listened to it a few times back then.

The free-improv/experimental music community of that day was an interesting combination of people from different aesthetic backgrounds–some came from the world of contemporary classical music, some came from the world of free jazz, some came from the more abrasive and avant sides of the post-punk world, some viewed it (as I did to some extent) as an extension of psychedelia, some came to it from a visual art background and approached their music as creating sound-art, some came with a deliberately outsider background and their contributions were the equivalent of action-paintings from someone who could not draw a recognizable tree or face, some (more than I expected) came from the metal world but felt constrained by the limitations of the genre, even its avant and artsy extensions. And then there is Jandek, who is a genre unto himself (however, listening to Henry Flynt or early Loren Mazzacane Connors will help you to discover that Jandek was not alone in independently inventing this kind of wheel, although his lyrics and his delivery of those lyrics steer the listener away from making those connections).

I can’t help but compare the overall effect of this album, consisting of three long pieces, as that of tribal psychedelia, such as Ya Ho Wa 13 at their farthest out and side-long jammiest, or the Beat Of The Earth album. Pete Nolan’s percussion and Tom Carter’s bass keep things percolating and pulsating, sometimes like the heartbeat of an animal, though often very slowly and with a lot of space so you don’t notice what they’re doing but instead feel it. Bassett, Bauer, and Jandek all tune in on the same wavelength, and each tosses out morsels to the others which are then developed and twirled and tossed around until this sticky reptile of an instrumental unit sheds its skin and evolves onto another plane.

This was the period when Jandek did a lot of live collaborations with some of the most interesting figures in the experimental music community (and as some of you know, I co-produced, organized, and assembled the band for a Jandek performance in Austin in 2012, so I got to see first-hand how this alchemy worked), and fortunately for us, Corwood has in the last year or two gotten back to chronological issues of live shows from the early years, recently mining the vein of 2009. These performances were all so different from each other, and Jandek was truly in his prime at that time, inspired to higher heights by the presence of open-minded and motivated collaborators who could hit the eccentric pitches that he (Jandek) threw and meet him halfway artistically. The Corwood releases of recent years have not gotten the attention they deserve. As someone who buys multiple experimental music releases every month, I must testify that Corwood’s output is stunning, both in its diversity and its quality. If there are six or seven “essential” labels out there, Corwood is one of them (Another Timbre is another). I’m glad Sterling is still sticking to physical releases in the classic appearance and format. The Jandek project has been in operation for over 45 years now, and you don’t suddenly change a kitchen-sink melodrama into a screwball comedy during the last act of the play. Corwood has carved out a unique space of its own in the cultural world. Appreciate it while it’s happening…don’t just read about the circus after it’s left town.

BTW, there have been SIX more Corwood releases since this one. They are reasonably priced, the shipping is prompt, and you won’t be able to predict what the next one will sound like.

You can order a physical copy of this fine album here: https://corwoodindustries.com/product/0858/

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Be sure to pick up a copy of my newest poetry book…

STATIC STRUT by Bill Shute

KSE #421, 125 pages, 6″ x 9″ perfect bound, softcover, $6.95 cover price

published 2 January 2024

available for immediate order in the USA from https://amzn.to/48GeYC5

Bill Shute/KSE Top 27 Albums of 2013 (in no particular order)

Once again, although it’s been a horrible year in many ways and a mediocre year in many other ways, it’s been a GREAT year for the arts, both in new work in a variety of disciplines and in archival reissues/rediscoveries of earlier work, much of it unappreciated or even unreleased in its day. As far as new creations from 2013, it will take future archivists 100 years to catalog what’s been done this year…and with all the micro-editions and unique art-editions and the proliferation of formats for artworks of all kinds and the ephemeral creations such as installations, the depth and breadth of what’s been created in 2013 is stunning…and the archival presentations of past works have never been more thoughtfully and beautifully presented. There has been a lot to discover and to appreciate this year.

Of the hundreds upon hundreds of new cd/cassette/cdr/vinyl releases I’ve enjoyed in 2013, here are the 27 that I would most recommend…ranging from 20’s jazz to 20th century composers to 60’s garage bands to free-improv/free-jazz to a solo album by an ex-Ellingtonian to Jandek’s 9-cd set of solo piano to a 4-cd box of “old-time” music from late 1920’s Tennessee to cassettes from contemporary noise/drone/improv masters to Los Angeles R&B of the late 40’s to a Henry Mancini soundtrack and much much more…thanks to all the artists and labels listed below for making this such a great year.

THESE ARE NOT IN ANY ORDER…they are all FIRST in my book…

1. KEITH ROWE/GRAHAM LAMBKIN, “Making A” (Erstwhile, cd, US)

2. various artists, “Oklahoma Rocks, Volume 14: The ‘Ruff’ Label” (no label, cdr, US)

3. various artists, “Beating The Petrillo Ban: The Late December 1947 ‘Modern’ Sessions” (ACE, 2-cd set, UK)

4. ANGELICA SANCHEZ/WADADA LEO SMITH, “Twine Forest” (Clean Feed, cd, Portugal)

5. various artists, “Book A Trip 2: More Psych-pop Sounds of Capitol Records” (Now Sounds, cd, UK)

6. JEF GILSON, “Archives” (Jazzman, cd, UK)

7. ALFRED 23 HARTH, “As Yves Drew A Line. Estate.” (Re-Records, cd, Hong Kong)

8. various artists, “The Johnson City Sessions, 1928-1929” (Bear Family, 4-cd box, Germany)

9. WALT DICKERSON QUARTET, “The Complete New Jazz Recordings” (Solar, 2-cd, EU)

10. SMOKEY EMERY, “Quartz” (Indian Queen, vinyl EP, US)

11. BARRY ALTSCHUL, “The 3Dom Factor” (Tum, cd, Finland)

12. JIMMY LYTELL, “The Complete Pathe Recordings, 1926-1928” (Jazz Oracle, CD, Canada)

13. DEREK ROGERS, “Don’t Stop Bereaving” (Bridgetown, cassette, US)

14. SIMONE MANCUSO, “John Cage–Works For Percussion” (Stradivarius, CD, Italy)

15. JANDEK, “The Song of Morgan” (Corwood, 9-cd box, US)

16. HENRY MANCINI, “Original Motion Picture Soundtrack, THE WHITE DAWN” (Intrada, CD, US)

17. BROTHER JOHN RYDGREN, “Silhouette Segments” (Omni, 2-cd, Australia)

18. various artists, “Long-Lost Honkers & Twangers” (Ace, CD, UK)

19. FOSSILS, “Brainville” (Banned Productions, cassette, Canada)

20. THE CHICO HAMILTON QUARTET featuring CHARLES LLOYD, “A Different Journey” (WEA International, CD, Japan)

21. ANTON HEYBOER, “Rules Of The Universe” (Kye, 2-LP set, US)

22. HAROLD ASHBY QUARTET, “Harold Ashby Quartet” (Progressive, cd, US)

23. VALES, “Boreal Head Trip” (Skell, cassette, US)

24. JANDEK, “Athens Saturday” (Corwood, 2-cd set, US)

25. BOB DYLAN, “Another Self-Portrait, 1969-1971: The Bootleg Series, Volume 10” (Colunbia, 2-cd set, US)

26. various artists (Huey Meaux productions), “South Texas Rhythm ‘n’ Soul Revue” (Ace, cd, UK)

27. GREG “STACKHOUSE” PREVOST, “Mississippi Murderer” (Mean Disposition, LP, Spain)

Jandek, “The Song of Morgan” (Corwood 0811, nine-cd box set)

JANDEK

“The Song of Morgan” (Corwood 0811)

nine-cd box set of solo piano (studio) performances

$32.00 US postpaid/ $33.0o outside US from http://corwoodindustries.com/

Now that I’ve had a chance to listen to all nine discs of the new Jandek solo piano box set, THE SONG OF MORGAN, I wanted to get a brief review up.  This release has generated a lot of interest and discussion, and while someone should (and surely will) do a more in-depth and analytical discussion of the set disc-by-disc, I can provide a general commentary on the topography of the set now that I’ve flown over the entire territory.

Jandek has been moving more into instrumental music with some of his recent studio releases; however,  since we do not know if these albums come out in recording order, and we do not know what unreleased sessions may have been recorded between what’s released, I’m hesitant to see any trend here, except that the Representative From Corwood is finding enjoyment in exploring the possibilities of the music half of the Jandek project. After all, he’s entitled to do that. His collected lyrics (and I’m not even counting the live shows) would probably fill a 500-page poetry book, so there’s a huge body of diverse work there to explore.

I’ve spent a lot of time with the Helsinki Saturday album (Corwood 796, and still available), recorded live in Finland and featuring Jandek’s piano with harp accompaniment, and that beautiful album brings to mind the work of Erik Satie for many, a minimal yet playful piano music that stays within well-defined parameters but is quite expressive within those self-imposed boundaries. There is some of that on the nine discs of The Song of  Morgan, particularly on Disc One, but as we move through the collection, there is a much broader dynamic range here.

Chopin would seem to be the main touchstone  (and I did not even make the “Nocturne” connection until I googled Chopin to brush up on his work before writing this), and I’m also reminded during some passages of 19th Century American parlor music,  but this is not music constructed in the manner of a Chopin…or even in the manner of a John Cage or a Morton Feldman. As always, I have the feeling that, like his guitar-based music, Jandek’s is a pure creation, NOT an imitation or composite of “influences.”

As I listen to these nine pieces, each one clocking in at around an hour, I am hearing a series of “piano explorations”….it’s as if the performer sits down at the piano, begins developing a phrase, plays around with it while gradually making his way up or down the keyboard, and evolves into a related passage, taking that in a new direction and seeing where it goes, etc.  The method reminds me of a pianistic “walk in the woods,” stopping to explore some areas in more detail, slowing down the pace here, speeding up the pace there, observing a gentle stream, pulling back and taking a view of a massive vista. But not winding up where he began…not working in a THEME–DEVELOPMENT AND VARIATIONS ON THEME AND MOTIFS–THEME format. What I’m reminded of most, actually, is the way Gertrude Stein will develop one of her texts such as “If I Told Him,” where she’ll repeat a phrase with some slight changes, then introduce a new word or two, and then follow the possibilities of that new combination, then add some new elements into the mix, and keep doing that and seeing where the textual journey takes her. If you can imagine a musical journey similar to that, played by someone who respects the classical piano traditions of the 1800’s and early 1900’s, but who comes to the piano with an outsider’s fresh eye, then maybe you have some idea of what you’ll be getting here.

Just imagine The Representative From Corwood in some dimly-lit practice room in some dimly-lit back hall on a Sunday morning in the recesses of the music department of a university, no one else around, and we hear his unhurried “explorations” spilling out into  the hall, the performer performing only for himself, not aware of any listeners, just exploring for his own sense of discovery.

Not all of the nine albums consist of one uninterrupted piece. At least two of them (4 and 8 and 9?) have more than one section separated by a pause, and I’m not sure if these consist of separate pieces presented together or are simply pauses during the session as The Representative From Corwood decides to start anew in different territory.

There is a good amount of stylistic variety within the parameters of the Jandek piano method—for instance, Disc 8 contains a dissonant section about 2/3 of the way through that could come from a Cecil Taylor album–and parts of Disc 9, from a distance at least, have the “sound” of Chopin-style elegant piano music. Disc 9 is also presented in separate–and thematically quite distinct–sections…and it ends in a dramatic fashion, as you’d expect such a piece to end. You could probably slip Disc 9 on at a party, and anyone who wasn’t a music student would not notice anything odd about the music being played.

So my description of this album would be to call it “improvised non-traditional piano explorations on a VERY large canvas.”  It is beautiful to listen to, intellectually interesting, and contains/evokes a rich set of emotions. Should you buy this? Hey, if you’ve  read this far, clearly you are enough of a Jandek person to want to explore the set on your own. And at less than $4 a disc, how can you go wrong? Take a date out to a movie on a Friday night and SPLIT a drink and a box of popcorn, and you’ve spent more than what this massive set will cost you.

This album was a dramatic move for Corwood, and I’d have to call it an unqualified success. It’s Jandek’s version of Keith Jarrett’s THE SUN BEAR CONCERTS. It’s an album that people will be talking about in 20 years. It’s epic…and it’s great listening. In fact, this and MAZE OF THE PHANTOM would be excellent entryways into Jandek’s art for the novice.

I may add more to this review after further listening and study, but really, you should come to your own conclusion. I just hope that you’ll take the plunge and get your own copy…

Oh, one final comment. Jandek performed a very well received solo piano concert in Oporto, Portugal on January 10, 2009.  As a fan of the Helsinki album, I asked Corwood if the Oporto show had been recorded. Yes it had, Corwood replied.  So when we reach January 2009 in the gradual release schedule of Jandek live shows, perhaps we’ll be treated to ANOTHER solo piano recital…

KSE #138, THE STUMBLE, now available

      now available:  KSE #138

 

BILL  SHUTE, “THE STUMBLE” (sound library series, volume 44)

That I would eventually do a sound library volume inspired by a Jandek album was inevitable. After all, I’ve been listening to Jandek albums for almost 25 years (Byron Coley and Chris Stigliano turned me onto his work around 1984-85), his work has been a huge influence on my own, and his label Corwood Industries was the main influence on the business model of Kendra Steiner Editions. Hearing the struggle and the search-for-meaning and search-for-fulfillment found in each of those many Jandek albums, I’ve felt like his work has been a constant series of dispatches from a fellow traveler on life’s highway. And his constant experiments with form and texture and persona are endlessly fascinating and an inspiration to any artist interested in breaking beyond established barriers. So here is my dispatch from Texas 2009, growing out of the soil of repeated listenings to the wonderful 2003 album THE PLACE (Corwood CD 0772). Penned dogs are barking at anything that moves; led by the nose by a sensationalistic and science-ignorant media, the public is going crazy about the swine flu; people are living vicariously through chatrooms and false online personas; men and women are doing their fourth tours in the Army of occupation in Iraq; used cars are washed and polished for any remaining customers; metal dinosaur birds are blocking the sun; and that affair with the married woman is coming to an end as the all-night jazz radio plays so low in the background it becomes musical homeopathy. It’s a personal stumble, and it’s a national stumble…but we’ll get our balance upon this wobbly rock …somehow… someday…

hand-assembled, hand-numbered edition of 89 copies, of which we’ve already moved 27.  issued with the blessing of Corwood Industries (long-time KSE readers).

Cost is $4.00 each or 3 for $10.00 (only one copy of any book per customer) postpaid in North America. Send a check (or well-concealed cash) made payable to Bill Shute, 14080 Nacogdoches Rd. #350, San Antonio, Texas, 78247. OR chapbooks are available to overseas readers DIRECT FROM KSE postpaid outside of North America for only $5 each. Overseas orders should write to django5722 (at) yahoo (dot) com and request a paypal invoice for whatever you’d like.

Why not get the 3-for-10 deal and choose THE STUMBLE as one of your selections.  Here’s what’s available now from KSE:

#134, RONALD BAATZ, headlights from the otherside of the world ;

#135,  BILL SHUTE, stereo action (sound library series, volume 42) ;

#130,  MISTI RAINWATER-LITES, odd years ;

#126,  MICHAEL LAYNE HEATH, grey rage (dyed) ;

#127,  BRAD KOHLER, dog nights, dog days ;

#133,  BILL SHUTE, this day without (sound library series, volume 41) ;

#131,  BILL SHUTE, acres (sound library series, volume 40) ;

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;

#122,  LUIS CUAUHTEMOC BERRIOZABAL, still human ;

#116,  MISTI RAINWATER-LITES, next exit: ten ;

#34,  STUART CRUTCHFIELD, shack simple (reprint).

and next week we’ll be rolling out Aleathia Drehmer’s poetry-photography chapbook CIRCLES. watch for that!