Chuck Hammer, Billy Martin, Jamaaladeen Tacuma & Jamie Saft | Blind on Blind

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Avant Garde: Structured Improvisation Avant Garde: Free Improvisation Moods: Type: Soundtrack
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Blind on Blind

by Chuck Hammer, Billy Martin, Jamaaladeen Tacuma & Jamie Saft

Guitarist Chuck Hammer (Lou Reed-David Bowie), Drummer Billy Martin (MMW), Bassist Jamaaladeen Tacuma (Ornette Coleman-Prime Time), Kbds Jamie Saft (John Zorn) - extend altered textural funky sonic possibilities through layered improv and deep studio
Genre: Avant Garde: Structured Improvisation
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  Song Share Time Download
1. Knowing Nerve
5:19 $0.99
2. A Little Cosmos
3:50 $0.99
3. Snow Blind Twilight
7:46 $0.99
4. Zoonotic
3:14 $0.99
5. Ghost Orchid
6:07 $0.99
6. Tilt
2:02 $0.99
7. Under Cold Sky
4:55 $0.99
8. Nabta Playa
7:28 $0.99
9. Darkened Seas Recombinant
7:20 $0.99
10. Per Se
4:52 $0.99
11. Steppe Nomad
4:25 $0.99
12. Invisible Somber
8:20 $0.99
13. Heresy Primitive
2:45 $0.99
14. Equally Naked Heart
8:12 $0.99
Downloads are available as MP3-320 files.


Album Notes
Guitarist - Producer Chuck Hammer (Lou Reed - David Bowie); Drummer Billy Martin (Medeski Martin and Wood); Bassist Jamaaladeen Tacuma (Ornette Coleman - Prime Time); Kbds Jamie Saft (John Zorn) - collaborate on this double length album dropping the listener into a stunning soundtrack and sonic landscape. The recording is something of a small revolution in terms of overall art process and NYC downtown avant perspective. Blind On Blind extends the sonic possibilities of composition through layered improv and deep studio. Akin to the process of film making it operates on multiple levels of cohesion, exploratory textures and downtown avant garde groove. It's a deep focused approach extending the textural directions that Miles Davis and Lou Reed were developing from different angles. Blind on Blind connects two entirely discreet sonic worlds: the intermodal phrasing and harmonic - rhythmic complexity of Miles with the contemporary sonic language of Hammer’s textural guitar work.

This is not a record that was made in three days. The pre release indicated that it was three years in development. And that's the point : Blind On Blind merges (with serious risk) the formerly no go zone between downtown improv and deep studio. It was recorded in multiple studios in and around NYC - with a process of separately recorded instruments - in varying degrees of "blindly" layered improv sessions and re-combinant arrangements that guitarist / producer Chuck Hammer - former guitarist with Lou Reed and David Bowie refers to as Blind On Blind.

The recording is an interconnected 76 minute path. Sonically it hovers near the zone of Miles "electric era"- as a starting point with harmonically complex – brilliantly re-envisioned Rhodes by Jamie Saft, (Zorn). Throughout most of the album Saft is running two "blindly" recorded stereo Rhodes tracks - and at times a double strummed piano. Saft's intuitive inventions through this harmonic landscape intersect with the refined inter-global grooves of Billy Martin, (MMW). Martin who multi tracked "blindly" without any additional sonic cues- cuts a wide aural path of exploratory percussion wanderings. This sonic core intersects with the deep toned - soul harmelodic bass collisions - and funk mastery of Jamaaladeen Tacuma (Ornette Coleman / Prime Time). These core elements are layered and intertwined wIth complex sustain tones and textural guitar abstractions - both acoustic and electric - from one of the key innovators of the textural guitar lexicon: Chuck Hammer.

Hammer's early work with Lou Reed and later on David Bowie's "Scary Monsters" remains in many ways the “true north” origin for the contemporary textural guitar movement. This is not your average free jazzer playing with pedals and a bow. Apparently every Core Guitar Tone was recorded without the use of pedals. Think London '68 meets Miles Davis twenty first century aesthetic - with refined hand vibrato, string bending, phrasing, lyricism, and soulful sustain textures. Hammer, perhaps the most prescient Textural Guitarist of his generation is looking far past the current mode. The music is well informed with seriously deep funky groove - and trips to zones that could not have been composed in any other manner.

It's an ambitious sonic direction. And one of the aspects that we like most about this record is that it is not clever - it doesn't take any of the cheap shots of "instant Free Jazz". The ideas are more refined and well considered. But also on a deeper level, "Blind On Blind" is an ambitious statement on contemporary American art. And can be taken as a political statement about the current layers and process of interaction throughout the global art music - political movement.



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