the new lineup of the Melvins proved itself a smashing success w/ the recently dropped "(A) Senile Animal," but they sealed the deal big time at Warsaw tonight. the show simply kicked total ass.
openers were weak to piss poor. i'm a huge fan of Joe Lally's bass playing in Fugazi, but his solo stuff doesn't do much for me--basically very chill songs built around bass vamps and Lally's speak-singing. the songs he sang on the last three Fugazi records were awesome, but these just feel half-baked. it was interesting to hear him backed by Dale Crover and Coady Willis of the 'Vins and (of all folks) Melvin Gibbs on "lead" bass, but the set was pretty much a snooze.
Ghostigital (i think one of the dudes from the Sugarcubes) just totally blew. boring arty dance music w/ rambling poetry over top.
then was Big Business who played a really solid set of mostly new stuff. this was the first time i heard them live where the mix was just right. their music is straightforward and relentless and, it must be said, very Melvins-like, but they've got a really strong identity, owing to what awesome players Jared and Coady both are. the notsosecret weapon is Jared's voice, a hugely powerful and melodic instrument. Dale joined in on guitar on a few tracks including "Easter Romantic" from "Head for the Shallow" ("White Pizzazz" was also played, after Dale exited), which i thought was probably the best heavy record of '05.
set segued right into the 'Vins set. the two drummers started up this intricate marchy-type vamp, which led into (i think i'm remembering this right) "The Talking Horse," the first track from the new record (which weirdly was the last track on the promo disc i got; entire record was reversed from actual track order and i'm not sure if that was a mistake or just the Melvins messing around). a good deal of "Animal" was played and the stuff simply sounded flawless (didn't hurt that Warsaw is an excellent room with near-perfect sound). usually the drummers would sort of jam out at the end of the songs and launch right into the next one. pacing and setlist were amazing; i heard songs i never expected to hear live, such as "Revolve," "Sky Pup," "Set Me Straight" and..."Oven," which is perhaps the heaviest song ever written and was like a moment of communion for me and my Stay Fucked bros--we opted to attend this show together instead of practicing--b/c we cover that song live. then there were the staples, such as "Let It All Be," "The Bloated Pope" (totally badass track from the very spotty "Pigs of the Roman Empire" record), "The Bit" (which sounded completely massive and benefited from a creepy drawn-out intro), "The Lovely Butterfly" and "Hooch."
it's true that there are certain songs that are in every Melvins set (no "Night Goat" tonight, though), but they play all the material with absolute conviction; they simply do not phone shit in. you might be wondering why i hadn't mentioned how the new lineup (Jared and Coady from Big Business are now in the band if that wasn't already clear) affects the sound and i think the reason is that the new guys fit in so seamlessly. the new songs already sound like classics and the old ones sound pretty much the same but with the added punch of an extra drummer. i really think this new record is one of the best of the band's career and this live show was a whole lot better than the other two i've seen. special props again to Jared's voice: check his performance on "A History of Bad Men" on the record and you'll see what i mean. like Buzz, he can be ferocious and melodic at the same time.
don't miss this band if they come back! hail Melvins! can't believe how long they've been around and how they keep kicking ass completely outside of the spotlight. who else even comes close to this kind of longevity and consistency let alone constant renewal. damn, these guys are just...
***
so i wanted to sort of revisit something from the last post. was trying to home in a certain period of jazz and i cast too wide a net. what i'm really talking about are the more avant-garde-leaning records on Blue Note from the early to mid '60s. i think this music is unparalleled in jazz--total virtuosity and control but with an experimental streak. but CONTROLLED, formal, TOGETHER. not free jazz. free jazz lives but it doesn't have the depth of this music. i'm talking about (partial list):
Andrew Hill - Point of Departure (3.21.64)
Andrew Hill - Andrew!!! (6.25.64)
Grachan Moncur III - Evolution (11.21.63--> day before Kennedy assassination! i
interviewed Grachan and he said he got chills listening to the funeral broadcast the next day because the horns playing taps reminded him of the dirgey title track of "Evolution" recorded one day prior.)
Jackie McLean - One Step Beyond (3.1.63)
Sam Rivers - Fuschia Swing Song (12.11.64--> one day prior to Tony Williams's 19th birthday)
Don Cherry - Complete Communion (12.24.65)
Eric Dolphy - Out to Lunch (2.25.64)
you'll notice that Tony Williams appears on many of these. i feel that he is the best jazz percussionist who ever lived, and one of the finest musicians period that i've ever been exposed to. he played music, not drums. utter finesse and conviction in every note. few things feel more sublime to me than the above-mentioned music and especially Tony's part in making it. this was such a special time.
uniformly strong WRITING on these discs. every piece hummable--never just heads. structural fascinations--Cherry's suite formats, Hill's episodic "Spectrum"--solos to melt your heart and brain (think of Jackie McLean on title track of "Evolution"). real improvisation and composition perfectly balanced. it's dumb that Blue Note lets these things waver in and out of print--as much as i love Coltrane and Miles and Duke and a ton of more well known things, these--and a bunch of related sessions from around the same time and with a lot of the same players--are really the essential records for me, my gold standard for jazz.
[a HUGE thanks needs to be given here to Andrew, Joe and Russell, dudes who first helped me cultivate my love of the aforementioned jazz regions and to Schaumann and Jeff, who understand exactly what i'm talking about when i gush about this vital realm of art.]