A rocker who sounds Alternative by being traditional; and 1970s Astral Jazz from the African diaspora.
sabatta
know my name
Self-released
2014
Deep in the recesses of your grandparents’ record collection lies the murky, smelly, swaggalicious style of Rock and Roll that managed to bend genres while still making you understand Rock’s reason to exist. I don’t call Sabatta’s 2014 Know My Name EP an upgrade — although I’m sure that one listen will make anyone feel that they’re trading up from the four-underfed-boys-holding-guitars-between-hair-appointments Rock that continues to take over radio and streaming services today — I consider the release a renaissance. Yinke Oyewole, Sabatta’s guitarist, bandleader and principal songwriter, remains consistent in producing quality roots Rock over the years. He unapologetically has no idea of what compromise means.
The title track — with its Soul and Rock gumbo as the foundation, gives way to fuzzy chordal and tempo changes that seem nostalgic and forward-thinking all at once. The catchy chorus bleeds hard Psychedelic with melodic Mod touches. Subtle playfulness with rhythm patterns made me eager for what’s next to come. “Told Ya” shows the same fearless dive into genres, creating space for Motown and proto-Alternative to express themselves, while keeping the whole undoubtedly Rock.
Know My Name has four kickazz tracks and I wouldn’t have complained a bit if Oyewole added another four. But you don’t have to relive 2014. The band sounds bolder and melodically richer than ever, as evidenced by the sound of the latest album, How to Get Even, released last week.
Get Know My Name
Baikida E.J. Carroll
Orange Fish Tears
Souffle Continu Records
1974
I was less familiar with Baikida E.J. Carroll, but very aware of the other creators he flowed with: Carla Bley Hamiet Bluiett, Charlie Haden, Jack DeJohnette, Sam Rivers, Wadada Leo Smith, Cecil Taylor, Reggie Workman, and a member or two from the Art Ensemble of Chicago. Plus, getting percussion deity like Nana Vasconcelos on this album — or any other recording, for that matter — will always get my attention.
I knew left-of-center Jazz was on the menu when the title track traveled the spaceways while using a rainforest as the launchpad. The wilder “Forest Scorpion” combined ceremonial African percussion with dissonant horns and keys.
Through Carroll’s trumpet; Oliver Lake on sax and flute; Vascocelos; and Manuel Villarroel(!) on piano, the band brilliantly keeps a foot in and out of this world. The remaining tracks are a bit more meditative at times and incorporate plenty of sound effects, humor, and other forms of animated noise.
The album is raucous and rebellious — the way Spiritual Avant Garde Jazz should be. If buying the vinyl or CD has been a remote thought, you should know that sites across the web are selling out. You may have to settle for streaming …
mentalunrest.com 