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(113 min 2CD, HCP) Prolusion. Not counting those on CD-R ("Vol. 1" and "Vol. 2", containing unreleased early recordings), this double CD set is the twelfth 'programmed' studio output by the US stalwarts of genuine, non-commercial Progressive Rock, DJAM KARET. It consists of two different albums, although both represent an impromptu music with no overdubs. The material presented on the first disc, which has given the title to the entire set, was originally released 20 years ago, but only on a cassette. For this release, the recording was digitally remastered and equalized. The second album, "And Still Getting the Ladies", presents the previously unreleased material, which was recorded direct to CD during the "A Night for Baku" sessions in 2002.
Disc I (58 min) - 1985/2004 - "No Commercial Potential"
TRACK LIST: 1. Where's L Ron? 16:52 2. Dwarf Toss 11:16 3. Blue Fred 29:42 All tracks: by Djam Karet. Produced by Djam Karet. LINEUP: Gayle Ellett - guitars Mike Henderson - guitars Chuck Oken Jr. - drums Henry Osborne - bass
Analysis.
I haven't heard the band doing spontaneous jams until now, but I always knew that Djam Karet was a charismatic band. Quite simply, it's due to the fact that each of the members has a charisma in everything concerning music. Otherwise I can't explain (above all for myself) their ability to create compositionally brilliant works on the spur of the moment. The point is that I don't see a particular difference between the band's purely improvisational music, as is presented here, and their composed works, at least in the overall context. There is much in common between such Djam Karet's epics as The Devouring and each of the tracks here: Where's L Ron, Dwarf Toss and Blue Fred. The music develops from slow and spacey to more up-tempo and dense arrangements, several minutes later reaching the height of intensity and eclecticism, with a wall of blazing guitar, bass and drums crescendos, with the same hard driving energized Rock approach, the same spirited soloing, the same tendency to force tension, etc, only with a bit more immediate and daring spirit. Stylistically uniform, all three of the tracks embody distinctive Jazz Rock features, and yet as a whole, the style has little in common even with authentic Jazz-Fusion, not to mention Jazz as such. In my view, this factor is still explained by the band's charisma, which stably provides them with fresh ideas, regardless of whether they scrupulously think over every chord or play impromptu. As quite typical for Djam Karet, the music here is a blend of clearly recognizable and indefinable structures, so I perceive it as Space Rock and Space Fusion-based Fifth Element, building in improvisational, highly eclectic, yet, a completely structured state. It's a very strong alloy, non-susceptible to entropy, sounding as fresh and convincing as if it was forged just recently; and no commercial potential, of course.
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