James Blood Ulmer on guitar, Warren Benbow on drums, and CharlieBurnham on electric violin constitute the trio who made the mostrenowned album of Ulmer's early-'80s heyday, the now reissuedOdyssey. Now they're Odyssey the Band, whoseReunion(Knitting Factory Works) makes clearhow absolutely unique their sound always was. Defining that sound,although he's neither songwriter nor star, is Burnham, who wascrucial in getting the three back together. Suggesting everythingfrom gypsy fiddle to the one-stringed instrument of West Africa,it's Burnham who turns avant-garde jazz into harmolodic hoedown, asweirdly familiar as the excursions of Ulmer's old mentor, OrnetteColeman. Ulmer's simple tunes, straightfroward declarations oflove, and rock-inflected chops are essential. But the band takeshis gifts to an American place he couldn't find without them. After 17 years, the veteran alternative band Sonic Youth seempermanently forbidding to some, tediously familiar to others. Yetthough their 11th album,A Thousand Leaves (DGC), bears the sonicimprint of their unique tunings and does rock out at times, it's awelcoming change--a fulfilled but never complacent meditation onthe raveups of their early days filtered through the tunecraft oftheir early-'90s albums and the ambient experiments of the technogeneration. "I've been with lots of boys and they've screwed me up," declaresSarge's Elizabeth Elmore on the opening track ofThe Glass Intact(Mud). Whereupon she proceeds to lay out a few of the many varieties ofscrewed-up experience--each one distinctly individual, each onestrangely recognizable. Guys who can't stand it when real girls dothis might try practicing to these rockin', well-crafted tunes.It'll be easy--just read along. Playboy, May 1998
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