The four members of Philadelphia band Son Step draw from their diverse backgrounds in jazz, rock, folk and music from around the world to write and perform tight, rhythmic pop songs. Pat Lamborn, Matt Scarano, and twin brothers Jon and Chris Coyle all attended Temple University in the jazz studies department and now each have their feet in a wide variety of projects in the Philly music scene.
In April they toured the midwest, stopping in Oberlin between shows at The Happy Dog in Cleveland and at The Empty Bottle and The Burlington in Chicago. The band recorded some live takes of a few songs in WOBC’s Studio B, including a couple of new ones slated for an upcoming full-length album. Listen to those recordings below, and check out their Bandcamp page to listen to their past releases!
On Tuesday May 1st, the ‘Sco housed another option for electronic music for those who thought Fracture was really not enough. Addison Groove, a.k.a. Headhunter, but who introduces himself as Tony, played a very eclectic but very accessible set of house, drum and bass, minimalist, dubstep, juke, mixing genres and samples from many realms of danceable music. Considering how varied the styles he played were, it might seem that the concert was disjointed or going in too many directions, which couldn’t be further from the truth. What makes Addison Groove so special is actually somewhat evident in his moniker; groove. He never loses the groove. Though the styles varied, the beat prevailed and the crowd both of first-time listeners and more-than-one time listeners responded.
His new album as Addison Groove for 50 Weapons, Transistor Rhythm, dominated the first part of the set, but towards the end, he displayed his eclectic tastes and skills as a DJ. He also mixed on real vinyl which always looks shiny. For anybody who wants something new, check out Addison Groove and Headhunter.
The James and Susan Neumann Jazz Collection is the largest privately owned collection of jazz materials in the United States, and possibly the world. James Neumann, proprietor of the collection and an Oberlin Alumnus, decided last year to donate all of the materials to Oberlin. So far, the school has received about 45,000 vinyl LPs along with thousands of jazz periodicals and collectibles, which does not event amount to half of the entire collection. The recordings will not be available for students for some time, which is why WOBC has decided to give followers a regular taste of the collection’s rare gems. Disclaimer: Information and music posted are sourced from WOBC copies of albums also included in the Neumann Collection.
This week’s dig from the collection is a beauty: an original pressing of John Coltrane’s masterpiece A Love Supreme. This particular vinyl copy of the album is in its original monoaural format, kept in absolutely pristine condition since its pressing in the year of the record’s release, 1965. The amount of A Love Supreme copies of this kind probably amounts to a few thousand—but in terms of copies that are still in perfect condition, there must only be a handful in existence.
A Love Supreme was originally released on Impulse! records in February 1965. The whole record was cut in one session on December 9th, 1964 at the studio of master engineer Rudy Van Gelder in Englewood Cliffs, New Jersey. The personnel on the record consists of Coltrane’s legendary quartet of the early to mid-1960s: McCoy Tyner on Piano, Jimmy Garrison on bass, Elvin Jones on drums. The music is a suite in four parts: I. Acknowledgment; II. Resolution; III. Pursuance; IV. Psalm. Each movement is dedicated to a different aspect of Coltrane’s newfound devotion to God in the 1960s, and his deep spirituality is viscerally apparent in every moment of the record. Musically, each movement is based on a simple modal chord structure, over which Coltrane plays a short theme and then engages in a more or less “free” improvisation with the other members of the group.
The design and layout of this particular printing of the album is unique for Impulse! records. Most Impulse! releases bear a colorful photograph on the cover, the signature black and orange label on the side binding, and a foldout that includes liner notes, additional information, and photos of the featured musicians. The original release of A Love Supreme, however, bears a stunning black-and-white photo of Coltrane’s face in a position of meditative repose, a matching black-and-white side label, and a foldout that is filled up by a hand-drawn image of Coltrane playing his instrument and personal inscription from the saxophonist/composer proclaiming his love for The Almighty.
It’s clear from the design of the whole package that the record label felt this release needed special treatment. Impulse! turned out to be correct in its projection of the album’s importance: it is one of the best-selling jazz records of all time, and is held as a centerpiece of inspiration by countless musicians. It goes whithout saying that Oberlin is extremely privileged to own an original, mint-condition record of this historic album.
This Saturday May 19th is the Zen Tapes Traveling Sleepover–a mini music festival featuring artists from Ann Arbor, Boston, and Oberlin. Eastman Presser a.k.a. Steamship has kindly put together a fantastic mix featuring artists from the lineup. It is a privilege for such talented and critically acclaimed musicians from the D.I.Y. sector of Electronic music to be joining us to wrap up the semester. Come out and enjoy this unorthodox crossroads of musical personalities from 6 pm – 11 pm in Fairchid Chapel. Set time slots to be posted soon!
The instrumental duo Talkdemonic’s album, Ruins, has made it here to WOBC! The duo of Kevin O’Connor and Lisa Molinaro’s avante-folk-electronica (the weirder the better, right?) makes quite the cannon ball splash. Out of Portland and on Glacial Pace Records, the group’s guitary and drummy bits are mixed up with hard extra-squeaky violin effects. Lots of long nice screech thrashes and vague song titles. Try track 5 ‘city sleep’ for instance. It starts out along these lines only to throw in some finger snaps. Chalk-full of guessing games: are we hearing bowling pins in track 6, ‘violet’? Then it turns into a percussion pick-up. They’re great at doing weird things with ‘instruments’. Take a look at their photo, such enigmas! ‘Summer Glass’ is a real treat, some real nice bippity-bopping chilled out fleeting video games vibes. Its like you’re dreaming you’re Mario, only in a haze just falling into that sweet gold earning free life after free life. What a summer that’d be! Track 9, ‘Cascading’ gets kind of icy, with a melodic beat and some light symbols hitting for us. You know the vibe. Ruins slips in and out of recognizable sounds, a great venture to get lost in.
1. Slumber Verses 2. Ruins 3. Revival 4. Midcentury Motion 5. City Sleep 6. Violet 07 Summer Glass 08 Cascading 9. Time Draws On 10. Midnight Pass 11. Chimera 12. Palace Walk
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