#57: Bring Me the Head of Jerry Garcia

Jordsjø | Nuke Watch | Herb Lore | JAPO

The label for NYC punk band Iron Prostate’s 1991 single ‘Bring Me the Head of Jerry Garcia”

Before going on to the new music, I’m gonna whine about Dead & Co. for a minute. That slow, almost motionless cash cow has announced three shows in August at Golden Gate Park—hallowed ground in terms of Grateful Dead history. When the shows were first announced there was no ticket info, leaving me with a miniscule hope someone with some sense of solidarity got to Weir and said it was time for a giveback to the fans that have nurtured and sustained him and the remnants for 30 years. I hoped maybe there was a last ember of anti-establishment fire left in Bob’s belly that would lead to three days of free music for the devoted who will drop everything to hear the sounds of a group that hasn’t advanced the music of the Grateful Dead an inch.

But they sure sell a lot of t-shirts.

Anyway, the shows aren’t going to be free. They are going to cost over 200 dollars each, actually. And maybe you are someone who is happy about these shows. And if you are, I don’t wish to dim that fire for you. As someone who went to, and enjoyed, a handful of DeadCo shows, I know how nice it is to be among thousands of lovers of the music of the Grateful Dead. Sure, there are people there just to party, but that was the case in the early days, too. And, hey, maybe arenagrass is your thing or whatever it is that sturgill simpson does. That’s cool. At least Trey will be there to show that you can get paid AND push your music into new spaces after decades.

Thankfully the true spirit of the Dead lives on in thousands of bands and artists all over the world, playing bars, backyards, art galleries, homegrown festivals and wherever else they can. These are the artists worth your money and vacation time. Please go support as many you can and tell John Mayer to fuck the fuck off.

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Norwegian duo Jordsjø has returned with an epic new piece of music and lovers of all things Canterbury are going to go apeshit for it. This new jam is half of a split with fellow Norwegian project Breidablik who go for a more electronic, Tangerine Dream kind of thing. Both bands turn in pieces titled Kontraster and Jordsjø use their space to channel mid-period Caravan and Gong to thrilling effect. Twenty minutes have rarely passed by faster.

I got on NYC duo Nuke Watch a couple years ago with a release on the ever awesome Not Not Fun label. They’ve done much since then but the freeform jazz-informed, percussive-focused, fourth world exploring electronic duo has a new one out this week via Patience / Impatience and it’s going to take some time to fully absorb it. "Wait For It..." is comprised of two sidelong jams of, honestly, I don’t fucking know. But it’s awesome. The synth and percussion are dizzying and addictive and smeared beautiful around the soundstage. This one needs to be played loud and without interruption. Also, I love how they use “jam band” as a tag on Bandcamp. Perfect.

Following my social media is not the most effective way to share your music (email me!) but I’m glad this Herb Lore project did as I’m loving their first release. Take a look at that cover and understand that any image tipping its hat to Atom Heart Mother and/or Letzte Tage - Letzte Nächte is going to lead to a thorough inspection of the music “inside” by yours truly. Simply titled I and issued via newish Brooklyn label Urthwork Recordings, the album traverses many routes to psychedelic transcendence—from electronic stillness to foot stomping rockers and folky introspection. Is it a band? Is it a person? No clue, but it’s real good. FFO: Six Organs, Popol Vuh, Pink Floyd, Joel Vandroogenbroeck

Now is not the time, but a deeper dive into the hazy history of the JAPO label is in order. For now, there are two releases from the more freedom focused ECM affiliated label that have been blowing me away lately.

First is Endgame from the quartet of Barry Guy (bass), Howard Riley (piano), John Stevens (drums) and Trevor Watts (saxophone). Recorded and released in 1979, it is a tour de force of incendiary musical conversation from four absolute giants of UK jazz. In the 70s, free music like this was rarely captured so well in the studio, so it’s a real blessing to have this artifact easily accessible by streaming (the LP isn’t expensive either, despite only having one pressing in Germany).

Equally impressive is the lone JAPO release featuring one of my all-time absolute favorite sax slayers— Elton Dean. Boundaries was issued in 1980 and credited to the Elton Dean Quintet (Dean with bassist Marcio Mattos, drummer Louis Moholo, pianist Keith Tippett, and Mark Charig on cornet). The album features four Dean compositions and one credited to the full group (album highlight “Out of Bounds”). Again, it’s somewhat revelatory to hear these guys recorded so crisply. The tunes are great, the playing is otherworldly (duh) and the space is sublime.