Greg Chambers Superfluous Motor Interview

Interview // Superfluous Motor: “Wherever it leads, the music will always be in motion”

A conversation with Greg Chambers, AKA Superfluous Motor

Since Greg Chambers put ‘Trifecta’ online for free, only a small portion of the prog/fusion populace has picked up on it. Quite perplexing.

‘Trifecta’ is a mammoth, immersive three-piece album–one part Fusion, one part Funk, one part Prog–propelled by challenging rhythms, playful twists and turns, and ever-changing moods that wrap themselves around you like a blanket. One moment, the music hangs in the background, quietly and innocently, the next its melodies grab you and don’t let go.

During the recent lockdown, I’ve come to appreciate both qualities of the music; the reason I got in touch with Greg in the first place. As a bonus, Superfluous Motor was a well-kept secret only a few hundred people knew about.

That’s no surprise. Superfluous Motor is a one-man-band that operates entirely outside of the music business. You won’t find ‘Trifecta’ on CD or vinyl. You can’t catch Superfluous Motor on tour.

“I’m terrible at self-promotion”, Greg told me. But judging from the reactions on his Bandcamp and YouTube channels, Superfluous Motor has the power to affect listeners deeply.

I sat down with Greg–virtually, with a very safe social distance of 6000 km–and asked him about his life as an artist outside of the mainstream.

Let me start by quoting some of the comments listeners left below your YouTube videos: “Soundtrack to my life.” “Perfect music for writing.” “Listening to it while hiking in British Columbia.” It seems like your music takes people places. How would explain that specific ‘transporting’ quality? 

Greg Chambers (Superfluous Motor): “First off, it honours me deeply to see comments like that. Knowing that my music has had that effect on even one person, let alone several people, is encouraging and meaningful to me.”

On his approach to albums:
“Who in their right mind would release a concept album in 2020?”

“I think the ‘secret sauce’ that might make my music immersive–for lack of a better word–stems from my progressive rock influences. All my favourite 70s era prog rock albums have the same sort of immersive vibe. There’s a lot of layers in the music and you can grab on to different aspects on each listen. I also usually end up releasing full-length concept albums instead of a bunch of singles compiled together.”

Why do concepts fit you better than regular albums?

“I always gravitated to the idea of songs in an album having a flow and all being part of a bigger picture or complimenting each other, especially when the transitions between tracks are seamless. There’s nothing wrong with either approach, but the singles approach is much more common these days. Who in their right mind would release a concept album in 2020?”

Kaleidoscope

‘Trifecta: Fusion’ was inspired by space travel and exploration of the unknown. ‘Idiosyncrasies’ deals with the “quirks, mental illnesses and characteristics that make us who we are”. How do these concepts take shape?

“Usually the full concept for the album doesn’t come together until the arrangement for the songs are mostly finished. Sometimes, I’ll start out with a full concept idea like in ‘The Floating Orange Incident’, ‘Shipwrecked’, ‘Kaleidoscope’ or ‘Idiosyncrasies’.”

“The concepts usually help as a creative prompt for me. The three genres in ‘Trifecta’ allowed me to focus my efforts and make things a little less ‘all over the place’ than my usual content. Although I didn’t fully succeed as the last two songs on the Fusion section were basically mild Vaporwave tracks. But it did help me maintain focus and finish the stupidly ambitious three albums on one album. I also might have overexerted myself because other than the ‘Double Vision’ album with Caius Hubris, I didn’t release a Superfluous Motor album last year, breaking the “minimum: one album a year” streak I was on.

Tell me about your writing process. How do you start and elaborate your ideas?

“It varies. Sometimes it’s an idea I’ve had in my head for a while. ‘Kaleidoscope’ was a bucket list concept album I’ve always wanted to do. Inspired by Jethro Tull’s ‘Thick as a Brick’, I wanted to write an hour of continuous unbroken music with no or minimal repeating parts. The idea for that was to use music to replicate the effect of looking through a kaleidoscope. Whether I successfully accomplished that is up for debate.”

“Some songs come from trial and error. From beating my head against it until the song finally has a structure and flow. I usually write the drum and bass parts first and add the keys, melody and harmony elements on top. Other songs are smaller parts that I write individually and find creative and interesting ways to get them all to fit together. Some songs are piano pieces adapted for a full band arrangement. And if all else fails, I’ll mimic an existing idea or concept and put my own spin on it. I’m sure my ADHD also has a bit of an effect of the twists and turns some of my songs take too.”

Home alone

The question that must arise with everyone who hears your music: composing, producting, playing and programming … how do you pull it off all on your own?

“I don’t want to ruin the magic for anyone but most of it is me noodling around with a midi keyboard and a bunch of instrument plugins in FL Studio [a Digital Audio Workstation – UM]. Then I take the songs and mix and master them. I stick to plugins with high-quality samples for drums and bass and the keyboards.”

About artistic freedom:
“I don’t have a fanbase large enough to anger a giant mob of fans if I make any drastic changes to my sound”

“The drums are all hand programmed by me, but I also have a very good drummer friend who studied music. He taught me a lot of the theory and drum techniques to replicate and kind of pulled me into the jazz, funk and fusion stuff in general. On occasion, I’ve invited musical friends to meander around with me and often take their suggestions or knowledge of instrument into consideration during the process.”

You’ve called yourself ‘not a people person’. Is working alone a direct consequence of your personality?

Partly, maybe. Referring to myself as “not a people person” is more of a tongue in cheek approach to my mildly introverted nature. I have a great circle of friends and have played countless gigs in a few different bands over the years.”

“Being a family man with two kids keeps me busy, but I still work on my music whenever I get the chance. I usually get a few hours of writing or recording done almost every day, but I will also say that lately, my song graveyard is growing rapidly. I’d estimate that maybe 20% of what I write ever sees the light of day.”

I suppose recording on your own, in your home, grants you a lot of freedom?

“Indeed. It’s always been a fever dream to maybe organize a larger group of musicians interested in playing the intricate sounds of Superfluous. But for now, the solo, low pressure, non-committal, full creative control, and non-gigging nature of Superfluous Motor means that it will always be a project that I work on.”

“I don’t necessarily stick to specific genres and don’t have a fanbase large enough to anger a giant mob of fans if I make any drastic changes to my sound. The freedom to do whatever I want has been a great way to learn and grow as a musician. But at the end of the day Superfluous Motor is a vessel for me to produce music that I want to make and want to hear.”

You’ve worked together with Canadian rapper Caius Hubris. It seems to be an odd pairing, but together you made the quite spectacular ‘Double Vision’ and record two tracks for Trifecta. What makes it work?

“It’s that Canadian Hospitality. I think we work together well because we don’t have strict creative limits. No idea is too crazy or stupid for us to do (see our silly funk cover of Mad World for example). There are no egos when we collaborate so we just get out of each other’s way and let each other do what we do best.”

“Caius is also extremely good at guiding me during the arranging process. I might have an idea that is okay at best and he will suggest a couple things that turn it into pure magic. It also helps that we’re basically the same person personality-wise, no joke. He’s basically the extroverted version of me … or am I the introverted version of him?”

Crazy Rhythms

You’re very good at crafting interesting rhythms. Those drum tracks are so precise and adventurous, even in crazy time signatures. Maybe they are the secret ingredient of the Superfluous Motor sound to me. Why do they work so well?

“Probably because of my overuse of polyrhythms. I use them a lot. For the uninitiated, a polyrhythm is where multiple rhythms are layered on top of each other. The drums parts are also usually the first thing I write and everything else is written around them. I wish I knew why they’re so effective but I do know that if a song kicks off with a killer drum groove, it’ll have me hooked from the start.”

About the unlikely influence of techno:
“I wanted to show my friends how easy it was to make, so I made some questionable techno and grew a deeper respect for the process”

Though ‘Trifecta’ is based around funk, prog and fusion, I can’t help but feel the spirit of electronics artists such as Aphex Twin or Squarepusher or Amon Tobin. Or am I insane?

“Electronic music always finds its influence into my music somehow–probably from my early novelty techno music days. It’s not a conscious decision, but you’re definitely not insane.”

Are you saying techno was an early influence on you?

“If I remember correctly, I disliked techno music back in the day. I wanted to show my friends how easy it was to make, so I downloaded FL Studio and made some questionable techno, grew a deeper respect for the process and realized that making music was kind of hard but endlessly entertaining and rewarding.”

“I kept making music until it sounded pretty good (to me) and eventually that silly techno project eventually evolved into Superfluous Motor. However, I didn’t publicly release works. I lacked direction and confidence until coming up with the ‘Shattered Groove’ album. I liked that album enough to release it and kinda figured that it did no good sitting unheard on my hard drive.”

Talking about electronic music, some of your tracks wouldn’t sound out of place in a videogame. You were a gamer, right?

“I’ve always been a huge gaming nerd. I was born in the late 80s and grew up with Nintendo, Super Nintendo and the like. There’s a lot of amazing music in video games and it has always been part of my life. The influence video game music has on me is mostly subconscious (unless I’m making a chiptune track). I don’t directly try or intend to emulate or evoke video game soundtracks in my music, but a lot of my music would fit nicely into a video game.”

“That said, I was working on a cover that featured a mashup of me performing my favourite tracks from ‘Gradius III’ [a shooter game, originally released by Konami in 1989 – UM], but it was eventually scrapped and added to the graveyard because I couldn’t figure out how to end it.”

Niagara Falls and Herbie

You’re from Niagara Falls, pretty close to Toronto, and you’re a big prog fan. So I guess we need to talk about Rush.

I’ve always enjoyed Rush’s music and it’s neat that they’re local. My childhood friend was Neil Peart’s nephew. Sadly, I never got to meet Neil. I’ve also been to Lakeside Park [the title of a 1975 Rush song, Peart lived close to LP during his childhood – UM] several times throughout my life and rode the carousel as a kid. With all that said, Canadian radio has a 35% ‘Canadian content’ quota, so Rush and other popular Canadian acts have been slightly overplayed. Unfortunately, due to oversaturation, I haven’t truly delved deep into Rush’s music. But their overall influence on the music industry has most certainly had an influence on my music too.”

Do the Niagara Falls inspire your music in some way?

“As a born and raised Niagara Falls resident, the allure of the big water drip mostly eludes me. But there is a lot of beauty here, lots of nice nature trails. Going for a hike at the gorge is always an inspiring time.”

“It’s unfortunate that the local music scene here is mostly background music cover bands at bars. But it is a nice city to live in and I love living here. Most of my musical inspiration and influences stem from the city of Hamilton (about a 50 minute drive from the Falls). Hamilton is where I did most of my gigging in the local funk fusion bands and where I truly learned and grew as a musician. It’s a vibe.”

About Herbie Hancock:
“Despite being an absolute beast of a musician, he’s so open-minded, kind and accepting of all music in general”

Who do you consider to be your peers?

“Calling them peers would be putting myself a bit too high on the pedestal. So I’ll just say that my influences that I feel stylistically connected with are probably: Medeski, Martin & Wood, Herbie Hancock, Snarky Puppy, Vulfpeck, Focus, Yes, Tower of Power, Jethro Tull, Lettuce, Chick Corea, Jan Hammer, Soft Machine, Billy Cobham, Stevie Wonder, Billy Preston and, in spirit, Ben Folds.

Herbie is one of your biggest idols, right? Why is that? And is there any chance that the synth opening to Anxiety (of ‘Idiosyncracies) was influenced by Chameleon?

“Darn, you caught me! The synth bass intro to Anxiety is dangerous close, treading into stolen/rip-off territory. Herbie Hancock is definitely my number one idol and biggest influence. His entire approach and attitude towards music was life-changing for me. Despite being an absolute beast of a musician, he’s so open-minded, kind and accepting of all music in general.”

“There was a documentary he made titled ‘Possibilities’ that documented him recording his album, also named ‘Possibilities’ [watch it on Herbie’s YouTube Channel – UM]. The album is a big collaboration between him and all kinds of different artists. Seeing Herbie’s attitude towards these other musicians and his attitude towards music in general was the most eye-opening and inspiring thing I had ever seen up until that point in my life.”

Superfluous Motor's Greg Chambers in a Moog mood
Superfluous’ Greg Chambers in a Moog mood

Tech talk. Bill Laurance of Snarky Puppy told me he always admired Herbie’s set-up of keyboards on the back sleeve of the Sunlight album? I suppose you love all that vintage stuff too?

“I wish I had the money to own any genuine vintage gear myself. But the Hammond B3 Organ will always be ‘the one’ for me. I started playing piano when I was a kid and didn’t see my first Hammond organ until I was about 18, but it was a love at first sight moment.”

“I luckily have access to a vintage Hammond C3 to play and practice on, which is exactly the same as the B3 the only difference is that the cabinet has an alternate design. My gig keyboards are a Hammond SK2 for organs and a Moog Sub 37 for synth leads, I also sometimes use a Korg SV1 for that vintage Rhodes and Wurli sound. Currently, for recording, I use a Novation Launchkey 61 for organs, bass, synths and clavs and the 88 key Korg SV1 for pianos and electric pianos, with both keyboards functioning as midi controllers.”

Digital Man

You grew up in the 90s and 00s. How did you experience the music and how did it influence your tastes?

“My brother, who is two years older than me, would use cassette tapes to record songs we liked off the boombox radio we had. I grew up listening to The Beatles, AC/DC, ZZ Top, Motley Crüe, Rage Against the Machine, Korn, Limp Bizkit and pretty much everything that was popular over the years on the Canadian TV channel Much Music, basically Canadian MTV. When Napster became a thing then we burnt CDs of music we liked and so on and so forth.”

“My brother started playing guitar at a very young age and became a gigging musician before I ever considered doing anything other than basic noodling on the piano. He then got me listening to stuff like Converge, Daughters and Dillinger Escape Plan. I grew up in a rock and roll and hardcore/metal household and can’t quite remember how I got into prog and fusion stuff.”

On the 70s:
“If I was a musician then, I would probably be a guitarist. Lugging around a 500lb Hammond B3 is no fun.”

How do listen to music yourself nowadays? 

“My preferred way to listen to music is currently through Spotify while driving in my car. Driving my car on a quiet road is a nice place to be alone and fully absorbed into the music. I usually try to focus on a specific artist and listen to one of their full albums in one sitting. If I find an album I really enjoy that will be on repeat for a while. But I also will check out stuff on YouTube if the performances are filmed, like Snarky Puppy or Vulfpeck.”

“My wife and I also have a music jar with several artists (52+) written on pieces of paper for our two year old son to draw an artist from once a week and then we dive deep into their musical catalog, in hopes to expose him to a variety of musical themes and styles.” 

It seems that the internet is crucial for you to get your music out, even to other parts of the world. Still, there’s so much music around and it’s so hard to be heard. So how do you reach the right people?

“Very true, Superfluous Motor would be a bunch of tunes collecting dust on a hard drive (or reel-to-reel tape) if the internet didn’t exist. As for getting heard? I wish I knew, it mostly seems like a mix of luck and sharing to the right place at the right time. Most of my growth was from sharing tunes on reddit. But I haven’t been doing that much lately due to their self-promotion restrictions.”

Suppose you started out in the 70s or 80s. Ever thought about how you would be recording and distributing your music in those decades? 

“Superfluous Motor would be a lot less ambitious and probably a cover band if I was doing it in that era. I’d also probably be a guitar player because lugging around a 500lb Hammond B3 plus 300lbs of synths and keyboards is no fun.” 

All over the place (like Kandinsky)

You haven’t put out a physical release yet. Why is that? I’d be happy to contribute to a crowdfunding campaign to get that 3LP edition of ‘Trifecta’ out there 🙂

“It’s mostly monetary reasons combined with subpar organizational skills. The downside of being a one-man-show is that creating content and managing social platforms, adding merch and managing all that on my own might be out of my skill set. I hope I can get it all sorted out one day, I’d love to get my albums pressed on vinyl and offer it to those who would want it or even have my logo on a hat, shirt or rad hoodie.”

The Kandinsky covers that accompany your releases would really work great on a 12” record sleeve. Why Kandinsky?

“I always liked abstract art and felt it fit the ‘all over the place’ style of my music. I saw Kandinsky’s work was public domain and started using it. After it became a theme, my wife came home with a huge Kandinsky print larger than our car that now hangs out in the jam space for inspiring creative flow.”

The cover of 'Scatterbrain' by Superfluous Motor. 
Art connoisseurs will recognize Kandinsky's Composition VIII
The cover of ‘Scatterbrain’ by Superfluous Motor.
Art connoisseurs will recognize Kandinsky’s Composition VIII

Ever thought about going professional as a recording or touring artist and giving up your day job?

“I think about that every day, I’d love to do this for a living, it’s basically the only thing I’m good at. But, I’m also terrible at self promotion and putting myself out there … let’s just say the seeds been planted but who knows what will come of it.”

Finally, what do you dream of achieving with Superfluous Motor? 

“It’s likely to always be my humble little solo project for making and releasing music. As for the future projects I’d love to see more collaborators infusing bits of the work . Wherever it leads, it’ll be sure to be ever in motion.”

Find and discover Superfluous Motor on Basecamp, YouTube, Spotify and Patreon.

The Breeders, Fabrik, Hamburg (3 July 2018)

All smiles, all authentic // The Breeders @ Fabrik, Hamburg (3 July 2018)

It all began with coincidence. When my grandmother and I decided to visit Hamburg, I instinctively went looking for the city’s best venues and their programs. Before long, I was holding tickets for The Breeders at the Fabrik, a former machine parts factory right in the middle of the lively, down to earth Altona neighbourhood.

It had been scheiße heiß that day in Hamburg’s Altstadt and by the waterside in the harbour. The slight breeze passing over the Elbe and the sight of the glacial Elbphilarmonie provided some refreshment, along with a pint of Erdinger Weissenbier. In the early evening, the piercing sun left behind a sultry, harmless heat.

You could easily mistake the sidewalk in front of the Fabrik for an outdoor screening of a World Cup match. Hands holding Carlsberg bottles, people wearing T-shirts of their favourite team (either The Breeders or local club FC Sankt Pauli), anticipation in the air.

Sturm und Drang

Apart from the old crane on the roof, the front of the Fabrik didn’t seem to hold anything special. But once inside, I got struck by its unique architecture: a high church-like room with a glass ceiling, hefty wooden beams, a 360° gallery on the first floor and an impressive wall of fame on the second floor. U2, Killing Joke, John Abercrombie’s Gateway Trio, Alphonse Mouzon, Holger Czukay, Klaus Schulze, Carla Bley, Billy Cobham, John Mayall, Miles Davis, … These greats and many others made the Fabrik the modest music temple it is today.

 

 

The Amsterdam youngsters of Pip Blom moved the audience’s minds away from the past. The band played its first gig on German soil. And as soon as 20 year-old singer Pip (vocals/guitar) and her band started making noise and launched their energetic form of slacker pop into the former factory, people started pouring in.

Wherever they go, Kim and Kelly Deal seem to prefer (part-)female opening acts. With ‘Last Splash’ and lead single Cannonball they hit jackpot in a male-dominated music industry and did things by their own standards. No compromises. Now they support other bands to do the same. For Pip Blom, it worked. The crowd appreciated the melodic Sturm und Drang of the Dutch quartet. Some people sang along, some mirrored the shaking bodies onstage.

Tension and release

Obviously, The Breeders gave a more mature impression, marked by a 30 year history of monster success and disintegration, addiction and rehab, line-up changes and reconciliation.

In 2013, the rejuvenated classic line-up of Kim and Kelley Deal, Jim MacPherson and Josephine Wiggs embarked on a tour to celebrate 20 years of ‘Last Splash’. A reunion that eventually led to the brilliant ‘All Nerve’, released in March.

The Breeders, Fabrik, Hamburg

Not that old tensions are gone altogether. “We don’t always get along”, Kim told J Double. “I think it’s sort of key.” Of her sister Kelley, she said: “Sometimes, I just want to take a knife and gouge her eyeballs. But then at other times, she says something and I think, Wow, that was really cool.” Meanwhile, Kelley told The New York Times about the experience of recording ‘All Nerve’: “We still butted heads.” And then they went out to get some ice cream and discuss the latest episode of their favourite true crime series. (Uncut Magazine #251)

So when Kim introduced Kelley in the Fabrik as the singer of the next song (I Just Want to get Along) with the words “Mother says Kelly has to sing a song”, it was both funny and poignant.

Smiling and shaking

If past tensions had left its mark on the band, you couldn’t tell from the energy on stage. Even in the back, it was hard not to be enchanted by Kim’s beaming smile. And Jim MacPherson’s drum set was a living thing, shaking with excitement right from the beginning, which had new song Wait in the Car sandwiched between ‘Last Splash’ favourites New Year and No Aloha. The band mainly drew songs from that album, 25 years old this year, and the new one, ‘All Nerve’.

 

Not suprisingly, just two tracks from the interim period made it to the setlist. MacPherson, who had left the band after the release of ‘Last Splash’, recalled in Uncut Magazine: “Hearing the new Breeders records coming out was like a knife in my gutt.”

Kim didn’t try to beat around the bush. Before she started one of those songs, Huffer, she said: “You can all song along to this, for it is the album before rehab. So the lyrics are really simple.” A goofy stab at herself.

On the verge of falling apart

Watching The Breeders launch into Cannonball and the wild audience reaction from the gallery was a sight to behold. Suddenly the crowd began jumping around as if trying to walk barefoot over red hot coals.

Tracks like Spacewoman, the gentle country of Drivin’ on 9 and Off You balanced the pace, the latter beautifully played by just the Deal sisters (“I am the autumn in the scarlet, I am the make-up on your eyes”) and immediately followed by the Pretty Vacant-like mood of I Just Wanna Get Along. Allegedly, Kim wrote that song about her failing working relationship with former Pixies-bandmate Frank Black, but after all that happened in her own band, the title took on a wholly new meaning.

Josephine Wiggs, who always comes across as the most sensible of the quartet in interviews, got it right when she told of the band’s sound to The New York Times: “Often I feel like it’s right on the verge of falling apart, and then it doesn’t. And there’s something super-exciting about that.”

In hindsight, I think that’s exactly what made this gig so special. That and the amazing surroundings of the Fabrik. All authentic. The real deal.

[Full setlist: below video]

Further reading

 

The Breeders@Fabrik, Hamburg – Setlist

  1. New Year
  2. Wait in the Car
  3. No Aloha
  4. Divine Hammer
  5. All Nerve
  6. Huffer
  7. Shroom
  8. Glorious
  9. Spacewoman
  10. Safari
  11. Drivin’ on 9
  12. Walking with a Killer
  13. Fortunately Gone
  14. S.O.S.
  15. Off You
  16. I Just Wanna Get Along
  17. Cannonball
  18. Happiness is a Warm Gun
  19. Skinhead #2
  20. MetaGoth
  21. Gigantic

ENCORE

  1. Do You Love Me Now?
  2. Nervous Mary
  3. Saints
Machine Gun - Rapid fire History of Epic Jazz

Machine Gun // A Rapid-fire History of Epic Jazz (1960-2015)

Think of a well-known Smiths melody and start scatting: “Some jazz is more epic than other.” It might not be one hundred procent correct grammatically. But as Miles Davis would say: “So what.” He rewrote the rulebook more than once: most notably on modal jazz milestone ‘Kind of Blue’ (1959) and on the monumental – one might say epic – double album ‘Bitches Brew’ (1969), which paved the way for a cornucopia of fusions between jazz, rock, funk and world music.

Miles Davis - Bitches Brew (1970)

So what … is ‘epic’? It’s a feeling, a mood, certainly not a genre. A timeless atmosphere or cinematic quality that oozes out of jazz’s most grand and often groundbreaking gestures. Epic jazz unfolds its stories patiently, sometimes violently, and might deal with matters that transcend our understanding, such as time and space, inhuman suffering and superhuman achievements, …

Here’s a list of records that sound epic or cinematic to my ears, ordered counter-chronologically, honouring the unruly nature of many of these albums. They were released between 1960 and 2015, which raises another question: was 1959, when  ‘Kind of Blue’ (Davis) and ‘The Shape of Jazz to Come’ (Ornette Coleman), iconoclastic statements in their own right, freed musicians from their harmonic and compositional straight jacket, the year when jazz became more epic?

Kamasi Washington – ‘The Epic’ (2015)

Kamasi Washington - The Epic (2015)Look at Washington’s overlord pose and confident glare, and tell me this album isn’t epic. It spans almost three hours of highly addictive music. A sidemen to people like Flying Lotus and Kendrick Lamar, saxophonist Washington and his impressive troupe of musicians channel everything from Debussy’s Clair De Lune and Donald Byrd’s jazz and gospel choir classic ‘A New Perspective’ to modern soul and Fender Rhodes explorations by the likes of Chick Corea and Herbie Hancock. An epic of biblical proportions indeed.

Brad Mehldau – ‘Highway Rider’ (2010)

Brad Mehldau - Highway Rider (2010)

Piano player Brad Mehldau doesn’t dwell in the same place for too long. He travels between trio recordings and sharp-edged collaborations. Most recently, he teamed up with Mark Guiliana on jazz-funk-prog album ‘Taming The Dragon’.

Mehldau’s restless ambition reached its peak on ‘Highway Rider’, a 100-minute cycle of jazz and classical music with elements of pop – there’s even a salute to Elliott Smith – and electronica, beautifully arranged and executed by Mehldau’s trio, sax player Joshua Redman and a full-blown orchestra.

Exploding Star Orchestra – ‘Stars Have Shapes’ (2010)

For Exploding Star Orchestra,Exploding Star Orchestra - Stars Have Shapes (2010) a large band led by Chicago musician Rob Mazurak, everything seems to revolve around … the sun. Or should I say Sun Ra? They’re certainly at ease with the cosmic side of things.

Dropping listeners in mid-space, Ascension Ghost Impression no. 2 floats towards complete astral chaos, with gigantic wooshes of sound and near-collisions of cosmic debris. After a brief soothing middle section, the turmoil returns, and then transforms again. Three Blocks of Light represents a different type of avant-garde jazz from outer space, and while Impression no. 1 contains some familiar jazz elements, it’s equally disorienting.

Patricia Barber – ‘Mythologies’ (2006)

Patricia Barber - Mythologies (2006)Deep-voiced jazz pianist and composer Patricia Barber meanders through Ovid’s classical masterpiece ‘Metamorphoses’ and turns it into a thrilling suite on ‘Mythologies’. Despite her often offbeat sense of melody, the album progresses smoothly, propelled by subtle piano, brief sax improvs, spirited percussion and blistering guitar, courtesy of Neal Alger.

On songs like Icarus and Phaeton Barber’s voice is out of this world. Just spell-binding. A timeless album, ‘Mythologies’ clearly flies close to the sun. But never too close.

Electric Masada – ‘At the Mountains of Madness’ (2005)

Masada is the name of a series of insanely versatile Electric Masada - At the Mountains of Madness (2006)klezmer-inspired songbooks written by John Zorn. Versatile? Because these compositions have been interpreted by numerous bands and musicians, both within and outside of Zorn’s immediate entourage. In 2013, Pat Metheny had a shot at taming Zorn’s ‘Book of Angels, Vol. 20’.

Almost a decade before that, a rather extreme ensemble aimed at the Masada repertoire too. No surprise it was one of Zorn’s own groups: the allmighty Electric Masada, which took a Dr. Jekyll and Mr. Hyde approach to the music.

Compare the quiet Abidan to the complex and brutal Metal Tov. The obi that goes with double-disc live album ‘At the Mountains of Madness’ puts it right:

“Tight as a drum and hot as a blowtorch, these two incredible live performances will leave you breathless. Astonishing group conductions, searing solos and crazed insanity from one of the most amazing bands Zorn has ever had.”

Pat Metheny – ‘The Way Up’ (2005)

Pat Metheny - The Way Up (2005)Guitarist extraordinaire Pat Metheny and keyboardist-sidekick Lyle Mays took their Pat Metheny Group recordings to the next level with this 68-minute twisting and turning piece of music. Partnering gorgeous melody with bursts of bebop improvisation, and Steve Reich-like pulses with a proggy compositional structure, ‘The Way Up’ is one of a kind.

Metheny had embarked on such grand-scale adventures before. ’80/81′, ‘As Falls Wichita, So Falls Wichita Falls’, ‘Zero Tolerance for Silence’ (his take on ‘Metal Machine Music’), … anyone? After ‘The Way Up’, Metheny’s next step was to replace his Group by a stagewide construction of automated instruments, the orchestrion, which he dragged aIl around the world.

Dave Holland Quintet – ‘Extended Play. Live at Birdland’ (2003)

Dave Holland - Extended PlayHonestly, the first track on ‘Extended Play’, The Balance is one of the most celestial pieces of music I know. The way the horns parts fight each other, and then fall into each other’s arms, is beyond words. As is the polyrhytmic base provided by Dave Holland (bass), Steve Nelson (marimba) and Billy Kelson (drums). ‘Extended Play’, an ECM release, was recorded live at Birdland in 2001.

Every single track on this massive set is a stretched-out version of a composition that was first recorded in the studio. In other words: Extended. And Play-ful most of the time, especially during the Chris Potter-Kevin Eubanks battle on Prime Directive. ‘Extended Play’ remains a crowning achievement for one of jazz’s finest band leaders.

Jaga Jazzist – ‘A Livingroom Hush’ (2002)

Jaga Jazzist - A Livingroom Hush (2002)The last track on ‘A Livingroom Hush’ by prodigious Norwegian ensemble Jaga Jazzist is called Cinematic. Tellingly, this minor-key noise elegy is the least cinematic of all.

Main composer Lars Horntveth has a sixth sense for grand melodies and brightly coloured arrangements. Take Animal Chin and its huge, textured sound, which couples jazz marimba with electronics and turntables. One great theme is followed by another followed by another … culminating in a strange voyage through Lithuania, which couples Tortoise-like minimalism with orchestrated house. Now that’s cinematic.

The Necks – ‘Next’ (1990)

The Necks are an unusual Australian experimental jazz combo,The Necks - Next (1990) with a very common set-up: piano, bass and drums. For years now, they have been releasing single, looooong compositions as albums, like ‘See Through’ and ‘Mosquito’. Meticously crafted acres of improvised music, time and time again. Debut album ‘Sex’ introduced the format. Follow-up ‘Next’ broke it.

It’s 28-minute centerpiece Pele, which patiently and brilliantly builts towards a gently pounding climax, sets the tone for The Necks’ further career, together with final piece The World At War. The ghostly guitar funk of Nice Policeman Nasty Policeman and the Seinfeld slapp bass of the title song only add to the fun on this overlooked album.

John Zorn – ‘Spillane’ (1987)

John Zorn - Spillane (1987)One of the most versatile composers around, John Zorn had released challenging ‘game pieces’ and a splendid tribute to Ennio Morricone (‘The Big Gundown’), before seeking inspiration from cult crime writer Mickey Spillane. The 25-minute title piece wouldn’t have sounded out of place in ‘Who Framed Roger Rabbit’, the cartoon/live-action film that hit the theaters a year later. Both ‘Spillane’ and ‘Roger Rabbit’ share the same setting: the 40’s-50’s LA underworld.

Zorn’s jumpcutting technique (from cartoons to harsh reality in a split second), samples and Morricone-mystique all work brilliantly. Besides Spillane there’s a thunderous blues jam featuring Albert Collins (Two-Lane Highway), and a mindblowing modern classical piece performed by the Kronos Quartet (Forbidden Fruit). Together with the Ornette Coleman readings of Spy vs. Spy’, ‘Spillane’ would lead directly to jazz/hardcore masterpiece ‘Naked City’.

John Abercrombie – ‘Timeless’ (1975)

‘Timeless’ begins with rapid-fire interaction between gJohn Abercrombie - Timeless (1975)uitarist John Abercrombie and keyboard player Jan Hammer (the Miami Vice guy). Meanwhile Jack DeJohnette holds everything together with his automatic weapon drumming.

But very soon, the trio sails into calmer water, evocating a wide range of moods: Love Song is a moving acoustic, well, love song. Just piano and guitar. 

Red and Orange, by contrast, seems to predate early 1990s rave music like Nightmares on Wax. And the first four minutes of the title song provide an early example of ambient, while the next part has an elegant repetitive motif, which makes you think of Portishead, or even Radiohead. To top all that, ‘Timeless’ has that cystal clear ECM production. It’s a classic without expiration date.

Keith Jarret – ‘The Köln Concert’ (1975)

Keith Jarret - The Köln Concert (1975)When on 24 January 1975 Keith Jarret finally sat down on his piano stool in the Köln Opera House, he didn’t have the slightest idea of what to play. He improvised his solo concert from start to finish. And still it became the best-selling solo piano album in jazz history.

But even more wonderous than the sales figures, is the fact that Jarret’s on the spot invention maintains a constant quality throughout two lengthy pieces, and knows no boundaries whatsoever – you’ll even find a Laura Nyre-like pop melody at about 02:25 in Part II c. Pressed on two LP’s and released on ECM Records, ‘The Köln Concert’ is a sincere work of art.

John Coltrane – ‘Interstellar Space’ (1974)

John Coltrane - Interstellar Space (1974)‘Interstellar Space’ is Coltrane’s posthumously released, deeply spiritual cosmos voyage. Recorded just five months before his untimely death in July 1967, his odes to Jupiter, Mars, Venus, Saturn and the constellation of Leo are among the final sounds he put to tape.

On ‘Interstellar Space’, it’s just Coltrane, his wildly inventive sax improvisations, and the equally intense drum parts of Rashied Ali. As a listener you’ve got very little to hold on to. No melody to whistle along to. No beat to tap your foot to. This album is lightyears away from his beautiful ‘A Love Supreme’ (1965), which he had recorded just two years before, and therefore a witness of his increasingly restless soul.

Sun Ra – ‘Space Is the Place’ (1973)

Sun Ra - Space Is the Place (1973)It takes just one Google Images search to find out that Sun Ra was a mythical character, inspired by ancient Egypt. As you start digging into his vast body of work, another lifelong obsession emerges: outer space and the future. No wonder he confused audience and critics alike.

‘Space Is the Place’ – especially its sidelong, freeform, cosmos-worshipping centerpiece – is a gentler (i.e. more easily digestible) ode to all things celestial than Coltrane’s ‘Interstellar Space’. And its title track, a whirlwind of repetitive voices, horns and keyboards, is a testament to the genius of one of jazz’s maddest mavericks. But let’s not fall into the trap of explaining too much, as Sun Ra warns in his liner notes:

“What can I say other than the music itself? Music? Yes, to the ears that dare to hear, that dare to hear, that dare to hear. Both the silence and the sound.”

Miles Davis – ‘A Tribute to Jack Johnson’ (1971)

Miles Davis - A Tribute to Jack Johnson (1971)The genesis of Right Off, the first of two +25 minute tracks on ‘A Tribute to Jack Johnson’, is a special one. Apparently, while waiting for Miles, guitarist John McLaughlin started a riff on his guitar. Drummer Billy Cobham and bass player Michael Henderson joined in. Together they built an explosive foundation for Miles’ solo, which starts at 02:19.

In the meantime, Herbie Hancock, who happened to be in the NYC building for some other business, was ushered into the 30th Street Studio to play keyboards. Track two, Yesternow, may be a less succesful cut-and-paste affair, but ‘Jack Johnson’ emulates the power of the legendary boxer it was inspired by. Johnson himself, voiced by actor Brock Peters, had the final word:

“I’m Jack Johnson, heavy-weight champion of the world. I’m black. They never let me forget it. I’m black all right. I’ll never let them forget it.”

Soft Machine – ‘Third’ (1970)

With tensions within Soft Machine rising, and the sword of DamoclesSoft Machine - Third (1970) hanging above his head, drummer, singer and songwriter Robert Wyatt remained silent on all tracks but one, his own composition Moon In June. The other members of Soft Machine wanted to pursue purely instrumental jazz, a schism which would very soon lead to Wyatt’s dismissal from his own band. All brilliantly described by Marcus O’Dair in ‘Different Every Time’. 

Luckily, the internal dissonance is not evident from ‘Third’. The album comprises four glorious side-long tracks. And though its sound and scope  seem modelled on ‘Bitches Brew’, it was recorded before Miles even released that set. It’s a defiantly idiosyncatric and British sounding record, and arguably one of the all time finest marriages of jazz and rock.

Peter Brötzmann Octet – ‘Machine Gun’ (1968)

Peter Brötzmann Octet - Machine Gun (1968)“This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later”, writes Allmusic’s Joslyn Layne. And she’s not exaggerating. It takes some nerve to get ‘Machine Gun’ out of its sleeve, to put it on the turntable and to let a wild bunch of sax players, bassist, pianists and  drummers trash your ears, your walls and your furniture.

It’s an even bigger challenge to sit through the entire thing. But it will send chills down your spine. Albeit chills that feel like bullets. To quote Layne again: “Much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill.”

Charles Mingus – The Black Saint and the Sinner Lady (1963)

An orchestrated tour de force divided into four parts,Charles Mingus - The Black Saint and the Sinner Lady (1963) ‘The Black and the Sinner Lady’ was ahead of its time. It had nothing to do with free jazz. Instead, the record seemed to come entirely out of Mingus’ mind. So much, in fact, that his psychologist Dr. Edmund Pollock provided liner notes to the original album:

“To me this particular composition contains Mr. Mingus’ personal and also a social message. He feels intensively. He tries to tell people he is in great pain and anguish because he loves.”

Anyway, whatever Mingus tried to say, he did so in a heart-stoppingly beautiful way. Incorporating everything from avant-garde to flamenco guitar in neat – in turns elegant and heavy – arrangements.

Ornette Coleman – ‘Free Jazz’ (1960)

Ornette Coleman - Free Jazz (1960)Back to where we started: according to Fred Kaplan, 1959 was the year everything changed. Miles went modal and Ornette Coleman went free, with ‘The Shape of Jazz to Come’. The latter then further revolutionalized jazz with ‘Free Jazz’: one monumental improvisation – created on the spot by his double quartet – split into two sides.

“No re-takes, no splices”, say the original liner notes. It’s a quintessential stereo record, with a set of horns, bass and drums in each speaker. There’s always someone keeping a familiar rhythmic pulse somewhere. That’s why ‘Free Jazz’ is a more relaxing listen than Brötzman’s ‘Machine Gun’. Still, Coleman provided the original landmark. One which impact on the shape of jazz to come is epic in its own right.

What are your views? Which records did I miss? What about the void I left in the 1980s? And was 1959 a landmark year for increasingly ambitious jazz albums?

Special thanks to Jonas Aerts for his suggestions and feedback.
And to the devoted followers of Facebook-group ECM Records for their input and support.