|
 |


 |
Eugene Chadbourne & Jair-Rôhm Parker Wells -
Fed Up With Bass
2xCD



CD 1:
1. Party at Horror Beach
2. Zeppocalypse
3. Karl Artisan Berger
4. 5th of Beethoven
5. 33rd Load
6. Birthday Card for Joe McPhee
7. Remembering Ale Sordi
8. Fed up with Bass
9. Winter
10. Primera di Causa Ruptura Centazzo
11. Inner Extremities Suite Part One
12. Jaxxpire
13. Kappa Key Bridge Conspiracy
14. Afternoon of a Used Book Dealer
15. Loch Listen
16. Monk's Mood with John Sinclair
CD 2:
17. Love
18. We Know Folk Song
19. Inner Extremities Suite Part 2
20. Inner Extremities Suite Part 3
21. Four Winds
22. Lo and Behold 10th Anniversary Groove Out
23. Might Eye
24. My Jar
25. Young Women
26. I Don't Think They Know
27. Peas, No Bees
28. No More Colic For Aldo
29. Inscription Atop Pula Coliseum
30. Jack Valentine Monster Truck
31. Joseph Spence's Underwear
32. Next Time Play for Half as Long
bandcamp



Jair-Rôhm Parker Wells: Acoustic upright bass, NS Design electric basses & bows, synthesis, modular processing, sound design
Eugene Chadbourne: Acoustic and electric guitars, personal effects
John Sinclair: Voice & poetry for Monks Mood
Mixed and mastered by Jair-Rôhm Parker Wells
Artwork by Eugene Chadbourne |
Reviews: (Bad Alchemy) EUGENE CHADBOURNE & JAIR-RÔHM PARKER WELLS offerieren mit ihren 33 Tracks auf Fed Up With Bass(pe163, 2xCD) fast schon einen Overkill, der eine mit Gitarren und Effekten, der andere mit Basses & Bows, Beats, Modular Processing und Sound Design. Von 'Afternoon of a Used Book Dealer' und '5th of Beethoven' (Camper Van oder Ludwig van?) bis 'Zeppocalypse'. Mit Verbeugungen nach allen Seiten: 'Karl Artisan Berger', 'Birthday Card for Joe McPhee', 'Remembering Ale Sordi' (Coverdesigner für Rudi Records und diverse Italiener auf ReR), 'Primera di Causa Ruptura Centazzo', 'Monk's Mood' (mit John Sinclair, dem Jazzpoeten, nicht dem Geisterjäger), 'No More Colic For Aldo', 'Joseph Spence's Underwear'. Chadbournes Partner hat mit Karl Berger in Machine Gun gespielt und zeichnet verantwortlich für Feststellungen wie „In Theory There Is No Difference Between Theory And Practice, In Practice There Is“ und Fragen wie „Would You Hug A Suicide Bomber?“ (auf seinem Solo „Ad Maiorem Dei Gloriam“, 2006, Klanggold). Dr. Chadula ist einmal mehr verantwortlich für abstruse, struppig virtuose, oft genug launige Kakophonie. Und beide zusammen für in alle vier Winde gestreute Sounds der seltsamen und ab und zu sogar groovigen Art. - Rigo Dittmann
(Downtown Music Gallery) Featuring Eugene Chadbourne on acoustic & electric guitars & effects and Jair-Rohm Parker Wells on acoustic & electric basses, synth & processing with special guest John Sinclair - poetry on one track.. I am always pleased to find out when musicians from different scenes meet up and improvise together, both live and on-line. I've known of and been friendly with early Downtown iconic guitarist since late 1979 when I first heard him in a duo with Fred Frith at Studio Henry. I wasn't sure what to make of him at first but soon realized that he and his then partner John Zorn were inventing new ways to improvise with extended techniques and composing in their own way. I first met & heard bassist Jair-Rohm Parker Wells when he was a member of a NJ band called Machine Gun, a hardcore jazz/rock/noise improv quintet that met while attending Rutgers Jazz College in New Brunswick, NJ. During the pandemic (in 2020), while most of us had to stay indoors, Mr. Chadbourne started an online series called 'The Book of Heads', named after a set of solo guitar pieces that John Zorn had written for Mr. Chadbourne in the early Downtown days (late 70's thru the early 1980's). Chadbourne sent out via email one solo guitar piece each day to anyone who subscribed to his series. Chadbourne asked his subscribers to use any of his solos to work with in whatever way they chose. A number of musicians did play along with Doc Chad's solo but none did this at length like Mr. Parker Wells, who recorded and sent back some 32 duos, all of which are collected here on 2 CD set. Many of these pieces are named after whatever musicians or other ideas (films) that inspired Doc Chad at the time: Karl Berger, Beethoven, Joe McPhee, Joseph Spence, Andrea Centazzo and Thelonious Monk. One of the things that I've long dug about Doc Chadbourne, is that he is/was influenced by all sorts of music: jazz, rock, classical, country, bluegrass, folk, soundtrack, progressive, punk & comedy music. Since both Chad and Parker Well use a variety of effects, it is hard to tell who is doing what at times outside of the more obvious guitar and bass sounds. "!3th Party at Horror Beach" features slow moving acoustic guitar with waves of eerie electronic sounds and/or samples. The music has a rather cinematic quality, perfect for a sci-fi soundtrack. I often recognize certain lines that Doc Chad is playing as Parker Wells adds odd spooky effects. Most of the pieces here are continuous, flowing from one theme or stream to the next. Parker Wells does a great job of keeping his playing & ideas flowing just as Chad also keeps changing his style, acoustic or electric guitar, effects or not. Is that the bass line from "My Girl" on "Birthday Card for Joe McPhee"? No Matter since it soon changes into something else with PW's bowing, shadowing Chad's changes in direction and solo(s). Although all or most of the pieces flow here piece to piece, Jair-Rohm often changes his playing or reacts to Chad's guitar differently on each piece. There is an ongoing dialogue going on here which is always evolving on each piece. The first disc is 74 minutes long so it took some time to adjust to the way things unfold. I felt like I was in a film where the soundtrack kept slowly changing in each scene. Most impressive as long as your patient. - Bruce Lee Gallanter
| |