Not April in Paris-The Arkestra Chamber Live at Ba
Need an inexpensive emotional-release trigger? Heed the words of blogger Taphead who says when listing his favorite live shows, 'Burnt Sugar The Arkestra Chamber, 2006, @ Tampere Jazz Happening. When this one really kicked in, I had to physically repress the urge to stand up and scream my lungs out. The first half hour after the show I spent in a state where I was mostly able to cry. Note: I am not overly emotional and I do not do drugs at show' You can't experience Tampere like Taphead, but you can experience this release. Try it and feel better! Due to the insistence of Alexandre Pierrepont, co-creator of The Weavers, a French publication of 'creative writing about creative music,' Xavier Lemettre and Nilou Kavah invited Burnt Sugar the Arkestra Chamber to perform at the 21st edition of the Banlieues Bleues Festival in Bobigny, France on March 19th, 2004. This performance is the first of a three-night run that continued with performances in San Sabastian, Spain and at the Musiques de Nuit Festival in Bordeaux, France on the following two nights. (Those performances can be found on the Arkestra Chamber CD entitled, ' If You Can't Dazzle Them With Your Brilliance, Then Baffle Them With Your Blisluth, also available on CD Baby.) To hear others speak of that first night: David Fricke of Rolling Stone wrote: 'This live CD, taped in France (not Paris) last year (not April), captures a bright night in the anything-goes life of this New York black-rock orchestra. The players' telepathy and the communion of echoes in the music (SunRa, Jimi Hendrix, Curtis Mayfield), conducted by band founder and critic Greg Tate, make it hard to believe this was an improvised set.' Art Lange of The Wire wrote: 'There's a palpable SunRa/psychedelic/spaceways/tribal/hippy vibe to this group of 13 instrumentalists and three singers, led by respected writer Greg Tate using the 'spontaneous' conduction methodology of Butch Morris. Conduction, in this case, doesn't rule out communal grooves or crooning voices. In fact, the music coheres according to shared values rather than clashing integration of disparate individuals. Style-melding ostinatos, incessant Fela-fuelled horn riffs and rock-guitar freakouts energise the primarily freefloating rhythms, and there's a long sectionalised, organic, Ambient jam - either hypnotic or numbing, depending upon your perspective - that envelops the infusion of 60s pastoral Prog, soul choruses, echoed string effects, rhythmic clave' and other sonic debris. As Ken Kesey once said, you're either on the bus or off the bus.' Bruce Lee Gallanter of DMG.com said: Not April in Paris is a quite long (nearly 79 minutes) tour-de-force, and this isn't even the entire performance. The eleven selections are continuous and evolve organically from one section to the next. Although there are occasional solos, it is more the mesmerizing music that sweeps us away. ^#^there is always an understated groove with layers of strings, reeds, horns, keys/or guitar moving in waves and submerging us in an exotic cauldron of spices. ^#^this music often has a calm center, yet grows through more turbulent sections. Although one can hear influences as far-reaching as electric Miles, Funkadelic and Sun Ra, Burnt Sugar have indeed developed into their own world.' and finally, Greg Tate in the liner notes said: 'I've been waiting to release some of our live sets for quite some time. ^#^just had to be the right sets and from the right times. I think when we went to Europe in march this year we made some breakthroughs as an ensemble that practices Conduction. ^#^for three nights we hit the stage in three different cities knowing only that we were going to hit the stage and let the love (and the lava) flow or the dogs of war as the case might be. Each set differs wildly from the others because as I frequently like to say, this very large band always plays the room. Dungeon, den of thieves, batcave, opera house, jazz salon, rock arena, we've played 'em all: each and every time concocting a noisy, orchestral approximation of the muses and the roar of the greasepaint and the smell of the crowd particular to that space and time. I'm frequently asked after Burnt Sugar shows which of our for-sale CDs sounds the most like what they just heard. I frequently have to answer, 'none of them' since what they just heard is most likely something we've never played before and will probably never play again. Like Shelly Maine, we believe you should never play anything the same way once.'