from: Here Comes The Flood

The Jacob Fred Jazz Odyssey has been on the forefront of the electronic avant-garde since 1994. This American is ecploring the back road of effects laden psychedelica. This is the kind of music that Syd Barrett would have come up with eventually if he hadn't become an acid casualty.

Their new album Lil Tae Rides Again is their fourteenth album in all. They are all different, but they all bear the unmistakable JFJO mark, i.e. post-jazz-electronica for the inner circle (click here to read more...).

Click here to read more at Here Comes The Flood.

Marquee outside of Lou's Records to promote the Jacob Fred Jazz Odyssey LIVE! Instore Performance at Lou's Records in Encinitas, CA on April 8, 2008 @ 4:00 PM.

Location:

Lou's Records
434 North Coast Highway 101
Encinitas, CA, 92024
United States

from: RecordStoreDay.com

Help HYENA and hundreds of independent record stores celebrate Record Store Day on Saturday, April 19, 2008.

Click here to find out more about "Record Store Day" at RecordStoreDay.com.

from: Creative Loafing Charlotte

Saving Country's Ass

Dale Watson out to represent the genre

Published 03.26.08 By Grant Britt

If you want to hear what Dale Watson thinks about the current state of country music, all you have to do is listen to him sing. "They took the soul out of what means a whole lot to me," he laments on "Country My Ass." It's enough to set Hank and Lefty (Frizzell, one of Watson's idols) spinnin' in their graves, voicing their displeasure through Watson: "Tell 'em stick it up high where the sun don't shine," Watson has the dead duo saying. "Get pissed, get mad, that's country, my ass."

Watson has been voicing his displeasure with country for the better part of two decades. He agrees with Charlotte's Unknown Hinson, who says there hasn't been any decent country since they stopped playing Faron Young's music. "He'd be the first one to tell you it sucked, even when he was alive," Watson says of Young's take on the genre (click here to read more...).

Click here to read full article at CreativeLoafing.com.

Marco Benevento Ringtone

Click here and get the ringtone for Marco Benevento's "The Real Morning Party" at Thumbplay.com.

from: All About Jazz

JACOB FRED JAZZ ODYSSEY
Lil Tae Rides Again
HYENA Records (APRIL 2008)

By Chris May

With Lil' Tae Rides Again, their first studio album since The Sameness Of Difference (Hyena Records, 2005), the mercurially inclined Jacob Fred Jazz Odyssey have taken their biggest step so far into the unknown, re-inventing themselves in the process, at least for this project. The band gave unfettered creative control of the finished disc to their Tulsa neighbor, producer and electronicist Tae Meyulks, allowing him to deconstruct and reassemble the raw tracks as the spirit took him.

The result is an album that takes JFJO out of The Bad Plus/Medeski Martin & Wood territory that was their most recent approximate stamping ground, into an area that owes as much to electronica and ambient music, and which echoes to the sound of tinkling bells and glockenspiels. Lil' Tae Rides Again rocks, chugs and boogies—buffed and burnished by Meyulks' mellifluous post-production—but it also trips the light fantastic like the band has never done before (click here to read more...).

Click here to read full review at AllAboutJazz.com.

from: Relix.com

Written by Mike Greenhaus
March 10, 2008

The Benevento-Russo Duo first made its name playing jazz gigs at New York’s Knitting Factory Tap Bar. And as much as those early collaborations were “shows,” they were also parties: excuses for all sorts of freaks to take a break from their regular lives and come together for a mid-week Indian summer. But The Benevento-Russo Duo has long since gone from being the soundtrack for a party to an actual band and gradually carved out its own niche in the blurry space where jazz, jam and indie meet.

Oddly enough, Marco Benevento’s burgeoning solo career has followed a similar blueprint: In the fall of 2006 the keyboardist hosted a loose, experimental residency, the following summer he released an album documenting that run and, in the months since, he’s molded the best moments from those discs into a new band (featuring Reed Mathis and Andrew Barr) complete with a solo album, Invisible Baby (click here to read more...).

Click here to read full review at Relix.com

from: AllAboutJazz.com

Dance Like There's No Tomorrow

John Ellis & Double-Wide | HYENA Records (2008)

By Chris May

The tragedy of Hurricane Katrina, which laid waste to much of New Orleans in August 2005, has inspired a clutch albums lauding the city and its people, and lambasting the colossal failure of the US government to pick up the pieces. Some of these tributes have been heartfelt; others have appeared opportunistic, going on cynical. Until now, the most eloquent and credible has probably been trumpeter Terence Blanchard's magnificent A Tale Of God's Will (Blue Note, 2007), subtitled “A Requiem For Katrina,” and featuring Blanchard's road band alongside the Northwest Sinfonia.

Blanchard's opus has now been joined by another engaging, and patently sincere, disc—saxophonist John Ellis' Dance Like There's No Tomorrow, a rude and vigorous wake to set alongside Blanchard's sophisticated and elegiac concerto.

North Carolina-born Ellis, who spent some of his formative years as a musician in New Orleans, set out to make an album taking dance as its reference point and, along the way, celebrating defiance in the face of adversity. New Orleans, Ellis writes, has always known how to live for the day and “dance like there's no tomorrow.” The saxophonist has brilliantly captured this spirit with his by now well seasoned blend of funk, old school R&B and creative modern jazz (click here to read more...).

Click here to read full review at AllAboutJazz.com.

from: HonestTune.com

Marco Benevento: Invisible Baby

Written by Jamie Lee
03/22/2008

Along with his unbridled virtuosity and penchant for improvisation, Marco Benevento has a remarkable ear for melody. As part of the The Duo, he is the cliff-hanging foil of Joe Russo’s cataclysmic drumming, but in his solo work, he has returned from the outerspace of the largely improvised Live at Tonic and has arrived on solid ground with Invisible Baby (click here to read more...).

Click here to read full review at HonestTune.com.