WOW.
First time I heard this album, I just stopped everything I was doing, transfixed, and couldn't operate until the album was over. I originally decided to check this out as I recalled Beefheart had said it was his favorite jazz album (and to anyone who has heard this album and Trout Mask or Decals, you can
definitely hear the influence, especially in the drumming, horn playing, and structures; listen to the part at about 5:30 in "Hat and Beard" until the end; if this isn't Decals-era Beefheart, I don't know what is! At 7:42 when ALL the instruments lock in for a few notes, wow!). I am very glad I decided to check this masterpiece out.
One thing that really got me about this album was the tempos, which shift greatly, and without warning. The songs seem to speed up and slow down with the greatest of ease. The drummer is one of the finest I've ever heard, playing all over the place, and usually never locking into a steady tempo at all. That's one thing that really gets me about this album: control, and a real mastery of that control. The musicians may be playing their asses off, but nothing feels clumsy or sloppy. However, there is a real power, energy, and ... nothing feels robotic. You can feel the musicians discovering new rhythms, new ways to interlock and combine their strengths; you share the joy with the musicians. It's amazing.
Track 2 is depressing as hell. Track 3 has some of the most awesome drum/vibraphone interplay ever. Listen to the drums at about 1:25 and how it sounds like they're trying to start a very frustrated awkward rhythm but never get around to it. Yada yada. There are just so many breathtaking moments on this disc. This is
the album if you want to hear what's so special about free jazz, imo. It has a great sound to it, amazing performances, and is inspirational and full of depth.
And what's more, lots of great artists have covered OUT TO LUNCH; check out Otomo Yoshidide's NEW JAZZ ENSEMBLE cover, it has many legends of Japanese avant composition: the inimitable genius Yoshihide, Sachiko M: on "sinewaves and contact mic", Toshimaru Nakamura with his no-imput mixing board (!), Taku Unami who is one of my absolute heroes. It's weird as hell, sometimes quite hilarious (Japanese avant garde music has a great sense of humor), and is a real treat on stereo, with sounds swirling all around the mix. Lots of musicians and never sounds cluttered either.
If you've ever said "I'm not a fan of jazz", listen to this album anyway, just for the fucking DRUMS (and the past in 5;37 in track 3 where the bass slides around and sounds like it's talking, then at 6:03 it gets into this super weird stutter where the drummer seems like he's trying his hardest to lock in but the bass player throws him for a ride, until they finally do lock in perfectly, and it's heaven).
Enjoy:
http://www.mediafire.com/?zziydym4dzh