![]() Speaking of Auger, the twilit psych-jazz of "Sweet Satisfaction" recalls the keyboardist's Trinity band with singer Julie Driscoll (now Tippetts), though Buckley's sense of elongated glossolalia still holds sway over the singer's vocal. The instrumental "Love Can Be Cruel" evokes Brian Auger's sense of space and motion with wafting electronic noise grounding the tune in the 21st century. "Same Minds" is so silvery and mercurial, one can feel Martyn's ghost in the mix. Sulpizio's guitar and Adasiewicz's vibes send this one into a darkly grooving stratosphere. "Summer Dress" moves on (a bit) to widen the circle and embrace John Martyn's early-'70s sound inside Buckley's elastic chamber jazz approach. Walker's voice swoops and sails, floats and hovers through his words about getting high. Eastern modes and droning psych are rung out on a 12-string, piano, electric guitars, vibes, and upright bass (the latter recalling Danny Thompson, who played with Buckley on the London concert issued as Dream Letter). Less than a minute into the opening title track, one can hear the very spirit of Tim Buckley - one of several Walker muses here - coming through the ether (or smoke, such as it were, since it is titled for a particular strain of pot). He's found a host of willing Chicago collaborators from the worlds of jazz and improv to assist, including cellists Fred Lonberg-Holm and Whitney Johnson, vibraphonist Jason Adasiewicz, drummer Frank Rosaly, keyboardist Ben Boye, upright and electric bassist Anton Hatwich, and electric guitarist Brian Sulpizio. Though these are original songs, their inspirational roots lie in late-'60s and early-'70s sources. On Primrose Green - his debut for Dead Oceans - he doesn't worry about putting his own signature on his tunes this record is all about playing music he loves with people he respects. MBHO KA100DK/603A (stage lip) > Naiant PFA > Sound Devices MixPre-6 > WAV (24/48) > Audacity 3.0.Guitarist Ryley Walker follows All Kinds of You, his 2014 debut full-length, by delving deeper into some of the abstract jazz and psych-inflected folk-rock that permeated several of its tracks. Stream and download the show at the Live Music Archive. ![]() I recorded this show with a pair of MBHO omnidirectional mics positioned at the stage lip. Ryley Walker isn’t touring with David Grubbs, but you can still catch him live this month and beyond. You don’t see two performers of this caliber get together very often, and I’m glad we were there to capture it. It sounds like they’re listening to each other just as much as they’re playing their own guitars. For fifty minutes they alternate between ruminative wanderings and dizzying freakouts, neither soloing or overwhelming the other. Though the pair won’t be touring behind the record (for now, anyway), they did get together last month for a one-off record release show at Public Records in Brooklyn. The album brings the two former Chicagoans together for the first time for seven loose, explorative guitar tracks with Grubbs also contributing some piano. Way back in September, which is about a decade ago according to my experience of time, David Grubbs and Ryley Walker got together to release a fantastic collaborative album, A Tap on the Shoulder, via Ryley’s Husky Pants label.
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