Virgin Ubiquity II

A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!

Cochemea Gastelum is an incredible electric saxophonist who was formerly part of the late Sharon Jones' Dap-Kings.  His two solo albums have become reference recordings for me.  The music is very percussion heavy with a strong ethnic element.  Its a very spacious recording with pin point placement of musicians in the sound stage.  The music is electric spiritual ethnic funk - thats the best way I can describe it.  Percussion and ethereal wordless vocals come out of the ether with Cochemea throwing down intense electrified sax.  CHEAP BUT BUY OR DIE!"The Dap-Kings' electro-sax space warrior returns with a groove-heavy sequel to All My Relations, Vol. II: Baca Sewa, an expressive, transcendental voyage through the archives of his indigenous roots and beyond. Drawing on ancestral memories and family histories to wrap new flesh around the bones of history, this album is a bold, semi-autobiographical work that leads us deeper into the annals of family histories, mythology and the cultural imaginary.“Baca Sewa” is Cochemea’s original family name prior to Spanish colonization. The melody was composed by Anthony Gastelum and features vocals and drumming by the Baca Sewa Singers- a group composed of several generations of family members. The album runs thick with sonic tributes and remembrances. “Chito’s Song” is a contemplative, ethereal tribute to a beloved uncle. “Curandera” conjures the memory of the irrepressible healing power of medicine women. “Black Pearl” recalls his great grandfather, heir to a legacy of indigenous peoples enslaved as pearl divers in the Sea of Cortez.Leading a 7-piece ensemble composed of New York’s top percussionists and members of Daptone’s rhythm section, Cochemea has created his own world of emotional textures and rhythmic possibilities, a musical and spiritual synthesis made possible through his deep reverence of the horn and the music and traditions preceding him. Vol II: Baca Sewa - is an offering and continuation of Cochemea’s explorations, part of a musical process of cultural reclamation and healing through connection, relations, memory and imagination.""Cochemea Gastelum’s 2019 release All My Relations saw the saxophonist step out from his longtime ensemble role as a member of the Dap-Kings. They are Daptone Records‘ house band, best known for backing the late Sharon Jones and collaborations with the likes of Mark Ronson—and explore his musical practices as a solo artist. Now, Vol. II: Baca Sewa continues the work as Cochemea leads a seven-piece ensemble through innovative arrangements, his perspective informed by his Yaqui and Mescalero Apache ancestry and the cosmic sounds of spiritual jazz. The central celestial body of Baca Sewa’s sonic profile is unquestionably Cochemea’s alto saxophone, an instrument as nimble as a well-trained human voice. Whether used in red-hot syncopated solos (“Burning Plain”, “Tukaría”) or mellower lines (“Baca Sewa Song”), it sings, always impassioned, a crucial part of the album’s emotional solid and melodic core. It isn’t the only manifestation of Cochemea’s instrumental skill. “Black Pearl” sees Cochemea pull double duty by bringing in lilting flute to lead the main line in unison with Alex Chakour’s understated marimba. That gives the track a softness that allows for an even more exciting buildup once the sax returns to soar over the track’s second half.No less critical in crafting the recognizable textures of the album is its rhythm section. The percussion here is constant, layer upon layer of acoustic beats. Cochemea counts among his drummers labelmates, seasoned veterans of New York scenes, and blood relatives. The Baca Sewa Singers (named, like the album, for the pre-colonial moniker of Cochemea’s family) are made up of Cochemea’s kin and offer both vocals and steady rhythmic accompaniment on the first iteration of the titular track, an antiphonal chant. The “Baca Sewa” pair of songs is something of a microcosmic representation of the album’s array of strengths: following the chant is the album’s final cut, a laid-back, fleshed-out version of the same melody, with Cochemea’s horn at the forefront over warm, electric keys, a gently rolling bassline, and a small array of sparing percussion.Vol. II: Baca Sewa is an outstanding example of music and meaning working in tandem to produce an impactful record. Cochemea’s style stems from a holistic sense of musical identity. His Indigenous roots and career in contemporary funk and jazz are inseparable from one another and from the music he makes here. As he looks to family for inspiration (“Chito’s Song” pays tribute to an uncle, “Black Pearl” to a great-grandfather) and takes on vintage vibes (Chakour’s bassline on “Curandera” is pure 1970s funk), his considerable ingenuity as saxophonist and composer is sparking. This is soul music in every sense of the word.As a sophomore effort, Baca Sewa is both a continuation of Cochemea’s previous solo work and a cohesive, self-contained story of its own. However you listen to it, though, Cochemea’s virtuosity and vitality are self-evident. This second volume of his work is earthy and open, laced with brilliant subtleties. There is space for contemplation, there are moments of ecstasy, and in the middle of it all, there is Cochemea, an artist who stands apart from his Daptone labelmates in the best possible way." - POP MATTERS

"The Chronicles of Father Robin is a Norwegian prog-rock supergroup, with members hailing from Norway’s symphonic prog kings Wobbler, the ever non-definable Tusmørke, seasoned post-rockers The Samuel Jackson Five and the elusive prog gem that is Jordsjø. “The Songs & Tales of Airoea”, 30 years in the making, is a cohesive triple concept album with 18 songs set in an alternate archaic world for over a period of three decades.  The first album, “Book I”, will be released on September 15th.The Chronicles of Father Robin (TCOFR) emerged from the remains of the band Fangorn back in 1993- 94, mainly inspired by the classic bands and albums of the early 1970s progressive music scene, alongside contemporary bands like Änglagård, Anekdoten, White Willow and Landberk.During the years the boys created the story of the entity Father Robin. The root idea was that this creature embodied all the members of the band into one being. And as the members experienced challenges in life and their development as human beings, this translated itself into the story of Father Robin, sprinkled on top with a fair amount of inspiration from different mythologies and such. Through lengthy jam sessions and then more finely tuned arranging and structuring, the band developed an ongoing system where every song linked itself to the others. Holistic impulsivity and ideas, altruistic friendship, music, fantasies and coherent concept - all melded together in one pot, and everything took place in the archaic world of Airoea."

"George Clinton's Parliament-Funkadelic was at its outrageous peak in 1977, combining a flamboyant stage show, tight musicianship and infectious grooves to create one of America's most popular touring attractions.Originally broadcast on WRIF-FM, this remarkable set captures them tearing through several of their best-loved numbers, with plenty of space for jamming and is presented here together with background notes and images."

Album number 14 from the premier American symphonic rock band.  Steve Babb and Fred Shendel mix up the deck a bit with different cast of characters but the core sound remains intact.  If you are unfamiliar with Glass Hammer what you need to know is that Steve and Fred have assimilated the best elements of 70s US and Euro prog and melded it into something fresh.  Vocalist Jon Davison sounds so much like Jon Anderson that he was actually poached by Yes!  This is lush symphonic rock with killer keys.  Think in terms of Yes, Kansas, ELP, and Gentle Giant and toss 'em in a blender.  That's the Glass Hammer sound.  Lots of interesting guests this time around.  Old GH alumni Walter Moore and Michelle Young make and appearance.  Higher profile guests include Randy Jackson (Zebra - not American Idol!), David Ragsdale (Kansas), and Rob Reed (Magenta).  Another triumph from the good old southern boys of prog.  Highly recommended.

"Roy Ayers' Virgin Ubiquity, Vol. 2: Unreleased Recordings 1976-1981 is another hodgepodge of demos and outtake cuts that were left off official releases for various reasons. That said, for Ayers fans, the set is consistent. "I Am Your Mind, Pt. 2" is an alternate of the classic, and offers a solid contrast. "Slow Tarzan (Funk in the Hole)" is a slippery little groove track with nothing much behind it except it feels good. "Liquid Love" (a song about kissing) should have surfaced somewhere with its juxtaposition of Rhodes with vibes and strings and a popping backbeat. "Third Time" is a throwaway but has plenty of ambition and a smoking string arrangement by William Allen as well as a solid vocal performance by Carla Vaughn; still, it's a little too loose for Ayers' smooth groove. "Tarzan" is a fusion fest of funk and jazz dance. It burns and is the most driving cut on the set. "I Like the Way You Do It to Me" is as big a throwaway as the title. But "Come to Me," despite its rather raw mix, is a deeply satisfying funk-disco burner, and "Kwajilori" is simply infectious with its keyboard bass and Ayers' vibes taking the melodic idea from South African jive. "Release Yourself" owes plenty to Bootsy and George Clinton -- 'nuff said. The demo version of "Sunshine" that closes the album -- featuring Ayers on vocals -- is rough, but a beautiful foreshadowing of the monster tune that was to come, and is most welcome here. Ultimately, Virgin Ubiquity, Vol. 2 is only going to appeal to the hardcore element in Ayers' fan base, but for those folks, it will come as a welcome addition to his catalog." - Allmusic