Jeff Sipe – The Art of the Jam
This band is built around a dynamic drummer named Jeff Sipe. Not only is he the president of the club, but he’s also a member. He plays countless critical parts on the album and also plays the role of producer.
His equipment includes Sonar drums, Vic Firth sticks, and Zildjian cymbals. He gives these components quality time and undivided attention. Lucky for his endorsers, this apparatus is cranked to its capacity and not wasted for a moment. Even though he bangs this valuable merchandise up, I’m sure the management will ignore the upkeep and be happy with the up-time and utilization.
Those in the know, probably recall Jeff going by the name
Jazz is Dead, by the way, released
some great albums such as Blue Light Rain and
Sorry to say, missing from the album are many of Jeff’s usual jam partners. However, Jeff is joined at the hip by several other skilled musicians. For starters, Paul Hanson plays Moosmann bassoons and Ultrasound amplifiers. Paul also writes one of the pieces (Budda’s Belly). Also in attendance is Johnny Neel (Keyboards), Shane Theriot (Guitar), Oliver Wood (Guitar), Derek Phillip Jones (Bass), Jonas Hellborg (Bass), Count M’ Butu (Congas, Percussion), and Jeff Coffin (Sax).
Jeff pokes his sticks deep into the jar and spreads the jam on thick and pasty. The cuts he concocts are wild and unpredictable. When they’re fast, out of nowhere, they’ll randomly pause and then slow down. When it seems they’ve encountered their most sloth-like behaviors, in a snap, their fingers stop doing the walking and instantly off they go running. This is the art and application of good-old-fashioned fusion.
Let’s take a promenade though the musically imaginative marmalade canned for us by Jeff Sipe:
Sliced Milk – While this is not totally unfamiliar to followers of free-form jazz, it wears its threads on the sleeve in quite the contemporary fashion. This has shape and rhythm in each of its folds. Various parts find shelter within the shell of Sting’s “Dream of the Blue Turtles”. Inspired by John Scofield’s “Ivory Tattoo” it incorporates Coltrane and Monk with supplementary synthetic layers. Conlin’s sax clicks and clatters around the corners like a wind-up car. Even when it’s knocked to its side, this uneasy toy continues in its mechanized melodies and motions. During its playtime, this tune comes across every article in the chest from the Slinky snake to the jumping Jack-In-The-Box.
Friends Seen and Unseen – The auditory elements in this one are extremely extraterrestrial. In this alien abduction, expect some experimentation long before being returned to sender. It’s as naughty as it’s nice. E.T. and Alf do what they can to educate Mork on the fact that earth girls are easy.
Budda’s Belly – It might be
frazzled, but it’s far from Fraggle Rock. This pudgy piece is slow, sullen,
laid-back, and swollen. The drums are applied with an unpredictable and erratic
beat. Subtle background minutiae supports Sipe’s diplomatic drumming. The sax eventually livens up
the festivities by dancing in a drunken stupor. Its abdomen undulates and rolls
in its sickness, coming quite close to hurling. Before it gets too unruly and unwell,
it guzzles down a capful of Pepto-Bismol. This seems to straighten out the upset
stomach. As a side note, Jeff was spellbound with bell-ringing in Buddhist
temples when he was growing up. I guess that’s how he came up with the name of
this track. Then again, if this really does refer to the holy deity, I’m not
sure why it’s missing the ‘h’. Could this be intentional or merely be a
spelling mistake?
Arrival – The Count’s congas and percussion are what’s most prevalent in this piece. It’s a succinct sample of thumps, thwacks, and strikes as his hands sympathetically slap the leather skins. There isn’t much else to discuss as the whole affair doesn’t linger on for very long.
Life on Mars – A mean mood is accompanied by syncopated riffs and a counter-melody. This fuses multiple-personalities together, but a drugged state keeps its steps controlled and measured.
Mercury – This is a whirlwind of a sound like a horde of bumblebees emptying their nest. The bass buzzes around while the drums scatter about. The hive heaves as these insects pour out of its tiny opening. This is one of the faster and more chaotic pieces on the album.
Landing – Most of the songs have a live sensation about them. Here that impression is most palpable due to the muted cheers and jeers by the audience in its intro. The bass is played in that psychedelically sparse way much like avant-garde specialist Bill Kopecky. At the onset, it slowly sets down and disembarks. After this prompt pit stop, it’s then quick to take off. This builds and churns and gains momentum as it escapes the audio atmosphere. This continues to shift its direction and heading. The shuttle strains, but gets beyond the planet’s gravitational pull. The bass growls like pulsating rockets and do what they can to keep the velocity steady. The sax is strict in its solos as it’s there purely for navigational purposes. The drums clap like cosmic dust colliding against the fins of this celestial ferry.
Lunar Soul Food – This cut is the Coup de Gras and my choice as the album’s top selection. The main course fills the platter with mash potatoes, cranberry sauce, and stuffing. These are familiar licks and rhythms, but they are executed with a broad bill of fare. After the guests leave and the refrigerator is raided, the leftovers make an acceptable late night snack. This medley of music is chock-full of plump passages, chubby bridges, and ample improvisations. At times it gets carried away. By the end, it’s completely lost its mind. It’s a bit overwhelming as this one flies into the face of reason, through the mouth of madness, and straight over the cuckoo’s nest. It calms once a partial lobotomy is performed on these potluck provisions.
Saturday Night on Venus – While you may not be able to stomach one more bite after the buffet-style binge on jazz, this dessert is delectable enough to warrant a sample. This insatiable song might make you feel bloated, but you’ll certainly be satisfied. With the whip cream and the cherry on the top, this one goes down smoother than anticipated. A glass of milk is all that will be needed to settle down its richness.
Each piece emits its own aura and embodies a different vibe. Some pieces are significantly more experimental while others put a clamp on the creativity. As the album covers a range of condiments, quality, and conditions, some songs are much better than others. To give credit where credit is due, “Sliced Milk” and “Lunar Soul Food” are the most exquisite and exotic items in the basket. Whatever the case may be, all the cuts coagulate. By putting them together on this album, these jams really gel.
7.5/10