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││││││├┐││ ─────────────────────────────────────── music for body and soul
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└┐└──────┘ 03.10.2006
│play in.
artist: Sheriks_Syncopated_Taint_Septet
album: Husky
label: Hyena
cat: HYN9349
year: 2006
genre: Jazz
sub-genre: Punk-Jazz
source: Cdda
grabber: Eac
encoder: LAME 3.90.3 --Alt-Preset Standard
quality: VBRkbps / 44,1kHz / Joint-Stereo
size: 114,8 MB
link: http://www.syncopatedtaint.com/
─┐└───────────────────────────────────────────────────────────────────────
│tracklist.
no. time track title
01 06:09 The Third Rail
02 08:09 Go To Hell, Mr. Bush
03 05:19 Syncopate The Taint
04 10:11 Fry His Ass
05 05:05 Don't Wanna
06 08:04 Song For Bad
07 07:26 Taming The Shrew
08 05:31 Irritaint
09 06:44 Summer Pudding
10 04:55 Daddy Won't Taint Bye-Bye
total time: 67:33 min
─┐└───────────────────────────────────────────────────────────────────────
│release notes.
In a recent observation on the state of jazz in the 21st century,
music journalist Milo Miles wrote, "By now, it's a simple fact:
funk and hip-hop are the foundation for jazz that gospel and blues
used to be." It's a discerning statement that cuts to the chase,
and in the process, quite possibly frames the current standard for
modern jazz and the new generation of audience that's fast
developing along with the music. If indeed the case, then June 27,
2006 is cause for celebration when Skerik's Syncopated Taint Septet
arrives with its new album, Husky, on HYENA Records. The ten-track
collection is vital and alive, bursting with fresh vision in
arrangement, composition, improvisation, rhythm and recording.
Although it was cut in one day and often comprised of first takes,
it's an album with seemingly multiple layers that are revealed
slowly and surely with repeated listens. And true to Miles
assertion, the soul of Husky is hip-hop and funk. But in no way is
it a self-conscious attempt to style-jump. It's a subtle and
authentic expression. The rhythmic vocabularies are part and parcel
of the Taint Septet's vernacular, as equally called upon as the
harmonic languages of Duke Ellington, Thelonious Monk, Count Basie
and John Coltrane.
"For me, Husky is that rare combination of everything lining up
perfectly at the right time. You're lucky if you get one of these
in a lifetime," states Skerik. "The band had been on the road
touring, so we knew the music inside out. We had a day off in Los
Angeles, so we went into The Sound Factory, which is a
one-of-a-kind studio out there and cut the entire record that day."
Despite Skerik's name being out front, in many ways ST7 functions
like a true collective with all seven members contributing
compositions and arrangements. The septet consists of Skerik on
tenor saxophone, Craig Flory on baritone saxophone and clarinet,
Dave Carter on trumpet, Hans Teuber on alto saxophone and flute,
Steve Moore on trombone and Wurlitzer, Joe Doria on Hammond B-3 and
John Wicks on drums. With a five-front horn line, ST7's sound is
gigantic. And yet they don't shy away from nimble, dancing
harmonies that can be as refined and delicate one moment as they
are muscular and bruising the next. Husky's opening cut, "The Third
Rail," emerges like a locomotive in the distance, faint horns
growing ever louder as it rumbles forward. Rather unexpectedly,
however, it turns elegant, managing to adroitly tread the line
between lithe swing and grinding, gutbucket thump. The politically
charged, "Go To Hell Mr. Bush," is a window into the band's psyche
because the music seemingly declares that creativity and artistry
in the face of conservatism are the best anecdote.
"Jazz to me has always been about taking the root and creating
something new with it. For the Septet, we're always listening to
new things and all of those various influences assimilate into our
collective sound," says Skerik. "The way I see it, the slow death
of jazz has been created by individuals more conservative than most
right wing politicians. The music's suffocated because of it. But
rather than allowing that to drag us down, we actually do the
reverse and draw inspiration from it."
The highlights on Husky are many and come in rapid succession.
"Syncopate The Taint" does just that with twisted explosions of
brass. "Fry His Ass," the longest cut on the album at ten minutes
plus, has a rock steady groove that slowly and hypnotically
uncoils. Skerik's tenor saxophone floats along mysteriously.
Hip-hop influences like J. Dilla and Questlove can be heard here,
while a Wurlitzer winds in and out with subtle shadings. "Taming of
the Shrew" takes similar influences, but creates something
altogether different through interweaving horn and organ lines
collectively harmonizing the theme. A straight four beat that one
might mistake for being sampled back from A Tribe Called Quest
album is nailed by John Wicks. Dave Carter and Joe Doria also turn
in mesmerizing solo spots.
As Husky begins to unfold, it becomes audibly clear that the album
has its own definitive sound that's as integral to its overall
impact as the actual songs and performances themselves. The tracks
were cut at The Sound Factory where artists like Beck, Tom Waits,
Brian Wilson, Los Lobos and The Doors have made some of their most
classic albums. It was recorded by the Grammy-award winning
engineer, Husky Hoskulds. Everything went straight to two-inch,
analog tape, a method of recording that's fast becoming obsolete in
a digital world.
"We paid as much attention to where it was recorded and how it was
recorded as anything else in the process," declares Skerik. "Husky
Hoskulds is such a brilliant engineer and we gave him complete
authority to do what he does when it comes to capturing and
presenting our performances. In that way, he almost becomes an
eighth member of the band. The recording has as much intention as
the music itself."
The Septet finishes up Husky by getting down. "Irritaint" is a
showstopper with New Orleans' brass band funk in its DNA. Steve
Moore on 'bone owns its groove. It doesn't take much imagination to
envision Big Easy revelers dancing all night to this one. By the
time "Summer Pudding" hits, ST7 are blowing the roof off. With its
booming melody, big energy and insistent rhythm perhaps there's a
new anthem waiting in the wings for summer 2006.
Skerik's Syncopated Taint Septet roared out of Seattle in 2002. The
group initially came about as Skerik's attempt to put together an
organ-tenor ensemble with Joe Doria on keys and John Wicks on drums
that would reinterpret the great American gospel canon through
improvised music, but it fast grew to include some of Seattle's
finest horn players with an arsenal of original tunes. Skerik
named the band after the term, "Syncopated Taint," which was used
by America's first ever drug czar Harry J. Anslinger to describe
the nation's moral decay in the 1930s and '40s as caused by the
combination of jazz and marijuana. ST7 released their self-titled
debut album in 2003 on Ropeadope. A "live" recording, the disc
captured the band's kinetic energy and received an overwhelmingly
positive response from music journalists and fans alike, but it
would take subsequent tours and additional material before the
band's vision would be realized. Husky--in all of its colossal
glory--is the realization of that vision.
Craig Flory - baritone saxophone adn clarinet
Hans Teuber - alto sax and flute
Steve Moore - trombone and wurlitzer
Joe Doria - hammond organ
Dave Carter - trumpet
Skerik - tenor saxophone
John Wicks - drums
Isalee Teuber - vocal on "Daddy Won't Taint Bye-Bye"
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