Eclectic Discoveries: music by Jerry Garcia, Mestizo Beat, Gyasi and more
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By TONE Scott
Welcome to this mid-Summer edition of Eclectic Discoveries (No. 16) here at Goldmine, where I invite you into a methodically curated audible and journalistic Show & Tell. The music reviewed in this July 2024, 16th edition of Eclectic Discoveries, is truly an mixed bag of musical finds; music which I have become privy to over the previous weeks and months, throughout last year, and beyond. If you enjoy exploring and sampling various types, genres and styles of music (just as I do), or even if you are a bit more finicky with the choices in your personal musical scope, my goal is to expose a mixed grouping of musical finds that are 'new-to-me' (sometimes more current releases, sometimes older), in hopes there is something in this edition of Eclectic Discoveries, that you feel spurred-on to discover, right along with me.
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Inside this edition of Eclectic Discoveries:
Gyasi — Rock N' Roll Sword Fight (live); Hungrytown — Circus For Sale; Jerry Garcia & David Grisman — So What (25th Anniversary remaster); Kelly Juett — Wandering West; Mandoki Soulmates — A Memory of Our Future; Mestizo Beat — Jaraguá.
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(In alphabetical order)
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Gyasi — Rock N' Roll Sword Fight (Live) — (2024, Alive Naturalsound Records)
Genre: Rock Style: Glam, Psychedelic, Proto-punk
Holy sh*t! ... this album kicks major ass. I know that I should have maybe lead into that more gracefully, instead of putting it so forthrightly, but this review is about transparency and integrity, and so there you go. We at Goldmine (myself in particular) have been lending support to this fantastical artist and revering his work for some time now. A live album by the modern psychedelic glam rocker, Gyasi (Jah-See) ."...would just be icing on the cake," I would always say to myself ... and 'lo & behold', here it is. In conjunction with Alive Naturalsound Records, July 2024 has ushered in one of the greatest albums of the summer, if not the entire year, with Gyasi's debut live album, Rock N' Roll Sword Fight. This album claims the artists' fourth album release, but his first in the live album format. As Incredible as his debut EP, and his two subsequent LP's are, one still never knows how an artist's music will transpire with regard to being recorded live. When I received the album (both on vinyl and compact disc media) I was anxious to give the album its due diligence.
Being a massive fan of the artist, I already possessed a level of bias, however, I am even more so, an experienced and die-hard fan and aficionado of the 'live album format'. Needless to say, I can be very critical of live albums (especially in the modern era of music). When we last reviewed Gyasi (December 2023), it was his most recent studio LP, Pronounced Jah-See, which lured us into giving him the true accolades that he deserves as a modern rocker. This being said, even though we tend to never compare the brilliance of a studio recording with that of the live album, it is a fact that the live album format is a much more difficult scenario to obtain a really palatable recording. Being so critical of live albums, I was prepared to enjoy this record, but simultaneously, I was definitely prepared to give it a run for its money.
Based on the length of this album and the amount of content it hosts, we have chosen some of our favorite tracks, as well as, some significant tracks to highlight and scrutinize for you, that you would receive a true overview of the album as a whole. Rock N' Roll Sword Fight ushers in with, "Cheap High," a song that is neither found on his debut EP, nor his two subsequent LP's. This was a direct translation from a monumental performance at Bonnaroo, straight into the grooves of your vinyl record or through the laser in your CD player. It is/was the perfect and most sensible choice to open this album up with. The overall songwriting is above average (as usual), but the ripping guitar inferno was what sucked me in, and quick. With the intensity and tempo of "Ballroom Blitz," I pray this song makes it onto the artist's next studio recording. One of my favorite studio tracks, "Tongue Tied," which can be found studio recorded on the artist's debut and sophomore studio album, ended up subsequently following. The performance was captured from the same Bonnaroo performance and matches the intensity of the previous track. Simply intoxicating.
We could not move further into the track-listing without highlighting, the performance of "Teacher." A song found only as a single off of the artist's debut extended play (EP) studio album, Peacock Fantasies, this is one of the most prized songs by the artist, point blank. However, with regard to the live performance, it transported me back to my father's record collection as a child, as I listened to many album selections and some of the best live albums by the many of the most prominent legacy artist's of all time. Gyasi's performance of this song, might very well be the best on the entirety of the record. It is emotional, it is ethereal and it is true classic-era rock & roll in the modern time ... and it is live, to boot. A couple of songs subsequent, "Godhead," smacks you in the face and slaps your auditory senses with the vibrant and heavy modern day proto-punk glam masterpiece, performed to live music perfection. The song debuted on the artists' current 2022 studio album and was revivified here, giving absolute justice to the original studio recording. It owns one of the best chorus hooks out of any Gyasi song ever, and to top it off, Ricky Dover Jr.'s guitar solo is fu**ing incendiary. Traveling deeper into the song sequence, you'll inevitably arrive at "Swordfight." A definite nod to Marc Bolan and T. Rex, this song was originally only available on the compact disc version of 2022's Pronounced Jah-See album as a bonus track. Now, however, you receive an alternate take on the song, live (literally) and direct on this Rock N' Roll Sword Fight LP. It translates beautifully, live, and the band performs it in their rarest form. Simply brilliant.
The album comes to termination with "Sugar Mama," a song that was only previously found on the artists' 2018 debut studio EP. Just like "Swordfight," it has now been resuscitated into a living version that will blow you away, to put it mildly. Listening to this version, created a retrospective nostalgia that can only be explained and described as the first time, as a kid, I experienced the KISS Alive album, and just as much, Led Zeppelin's The Song Remains the Same. It is large, it is full of depth, it is exploratory and it was the only way to bring this album to completion. Alive Naturalsound continues to create listening experiences that keep fans coming back for more and more and more, and Gyasi's Rock N' Roll Sword Fight was no exception to the rule. This album was so hype-inducing that I am now slightly anxious with regard to wondering two things: when will I finally see Gyasi live, for myself, and when will Gyasi Heus give us a brand new studio album so we have even more of the artist to covet?
(Hear an excerpt from Rock N' Roll Sword Fight in the song samples section, below)
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Hungrytown — Circus for Sale — (2024, Big Stir Records)
Genre: Rock / Folk / Pop Style: Pop Psych, Neo-Folk, Folk Rock
If you are not familiar with the band, Hungrytown, you may not be alone. However, if you are familiar with the band, then you are also in great company with the many others who have discovered, experienced and gravitated toward the sound of this very well established and revered modern day folk. rock and pop duo. The band, comprised of drummer, percussionist and banjoist, Ken Anderson, and songwriter, vocalist and guitarist, Rebecca Hall, commissioned their first studio album, under the moniker, Hungrytown, in 2007 with their debut self-titled release on Listen Here! Records. The band would go on to release subsequent albums on the Listen Here! label—2011's Any Forgotten Thing, and 2015's Further West studio recordings, coming to the conclusion of three full-length studio albums within a slightly more than seven year period. Then, seemingly, a hiatus for the duo occurred, with regard to recorded material, and almost a decade passed before they would emerge once again, to sonic brilliance.
The duo of Anderson and Hall, in so many ways, cannot be replicated, as their chemistry is as unique as strudel is to Hungary, Austria and Germany. However, their musical bonding-agent is reminiscent of the connections of classic male/female recording acts such as Everything But The Girl, Buckingham Nicks, Carpenters, Nancy Sinatra & Lee Hazelwood, Mimi Farina & Tom Jans; hell, even Tuck & Patti, and Ashford & Simpson. Sound-wise; if you are a fan of groups such as Belle & Sebastian, The Moody Blues, The Cowsills, Fairport Convention, to The Byrds, Dan Fogelberg, James Taylor, Gordon Lightfoot, Terry Jacks and Crosby, Stills & Nash, then you're definitely in a safe space. They exist on an ethereal level, musically, and produce a sound that is haunting, pacifying and classic all within the modern state of music. Summer of 2024 would give way to the release of the duo's fourth studio recording, Circus For Sale, and, from my point of sonic-view, is the absolute best sound they have created to date within their almost 20 year partnership. Goldmine was privy to receive the album for review and I did not hesitate to dive in and explore this floaty, yet thought-provoking and beyond audibly-pleasing album, being presented on a brand new record label, Big Stir Records, where they now call home.
So many selections should be highlighted on this album, in fact, they are all deserving of individual accolades. However, for the sake of being concisely descriptive of the entire 12-song album, I have chosen some of my more notable favorites from Circus For Sale, that outwardly struck me, to create an overview of the entire album experience.
"Another Year," opens the album and gently leads you into the 2024 sound of Hungrytown. Before I even had a chance to discern, it shuffled me back to a slightly psychedelic era that folk and folk rock experienced, especially of bands that would find their way out of the late '60s/early '70s San Francisco/Bay Area scene. The lyrical arrangements and melody really captured that timeframe, but the Hammond B3 really lent to a period-correct sound. Gracefully passing through the album's title track, "Circus For Sale" (which was brilliantly accented with instrumentation that reverberated the essence of a carnival midway), you will come to "Feel Like Falling." This, joyfully and immediately, brought upon feelings of experiencing '70s AM radio tunes, at an extremely youthful part of my life, while driving with my parents somewhere ... anywhere, listening to the radio in the car during a bright Southern California summertime escapade. It is here where I really began to absorb the Circus For Sale album and really felt like I needed to hear more. "Green Grows the Laurels" comes almost half way into the track-listing sparking sonic imagery of Fairport Convention, Gordon Lightfoot and The Cranberries, all at the same time. It is a slight nod to the medieval patronage of sound that came about in the classic era of recorded music, and an extremely well written an well produced piece.
Traveling through the track-listing, while appreciating the brilliance of the string section, and Hall's lead vocals on "Trillium and Columbine," subsequent musical forces will bring you to "Tuesday Sun." This sonic offering infuses a slightly more modern 'pop' oriented folk song into the song sequence, where the verses are lush, magical and supported by a beautifully performed acoustic guitar set, and a perfectly executed vocal performance. In lay terms, it is, indisputably, hands down, such a pretty song, that no one can argue. "Little Bird" is an incredible breath of fresh air, distinct from the previous songs on the track-listing, exemplifying a '90s pop rock sound that is comparable to bands such as The Boo Radleys, R.E.M., The Cranberries, and such. It delivers a sound that fits within the musical ideology of Hungrytown, but yet separates itself, uniquely, from the previous examples embedded in the song sequence of this album. And even though it is remarkably different from the rest of the album thus far, it seems to effortlessly fit and associate itself perfectly with the entirety of the album's musical scope. The album comes to its end with the very Beatles-esque song, "Leaving." It is a production, that if written and produced 55 years earlier, could have easily ended up on the Let It Be or the Abbey Road albums, without a doubt. A definite likeness to a split McCartney and Lennon collaboration, overseen by George Martin, by far. It was the quintessential way to bring the album to a close, and as well, one of the most memorable songs on the album.
With the completion of review of the Hungrytown album, there is virtually nothing to be said about it that would be regarded within any negative scope whatsoever. It was extremely well-thought-out, composed meticulously and brilliantly executed. If Goldmine gave out stars (which we don't) this would easily receive a five star rating. Do yourself a favor, and get it.
(Sample Hungrytown's Circus For Sale in the song samples section, below)
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Jerry Garcia & David Grisman — So What (25th Anniversary remaster) — (2023, ORG Music)
Genre: Jazz / Folk Style: Acoustic Jazz and Blues, Contemporary Jazz
Talk about an unbelievable album. So What, has always come-off as monumental, but considering even further, a remastered reissue from one of the most prominent names in reissued physical media (ORG Music), this is truly a massive treat for the senses. The iconic partnership between historic legacy rocker and folk master, Jerry Garcia (The Grateful Dead), and Blues/Bluegrass icon, David Grisman, is heavily exemplified within the realms of this 25 year old recording, which demonstrates a unique ideology of traditional/straight ahead Jazz music, by two icons who, in the eyes of the masses, aren't really known for having too much influence (if any) in the world of Jazz.
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This all goes to show that these two historical musicians know more about music than you and I do, combined. To have lead musical careers within the genres that each of them have lead, and collaboratively turn a corner with regard to musical direction, in order to honor not only the Jazz genre, but pay great homage to some of music histories Jazz greats, was to me, an extremely impressive and honorable feat. The album's focal point and premise is Garcia's and Grisman's interpolations and interpretations of, specifically, compositions which were created and made legendary by Miles Davis and Milt Jackson. It is immediately evident that these are not just 'cover songs' per se, but absolute re-imaginings of these classics, while keeping them harnessed within the realm of the musical style and characteristics that remain inside the wheelhouse of Garcia and Grisman's iconic sounds.
I will confess—and I am ready to receive backlash for this—that I am not the biggest bluegrass fan, nor am I a great fan of The Grateful Dead. Not saying I don't own any of either example, but I am just not rooted deeply in those two things. I am more a fan of Garcia's solo material, over the years, than that of the band which made him famous. Thus being said, I'd never made it a point to indulge in this album when it was first released in 1998. Moreover, when the illustrious ORG Music remastered and reissued this FANTASTIC album for Record Store Day 'Black Friday' 2023 (on vinyl for the first time), I still consciously passed it by. Finally, I graciously received a copy from the powers that be at ORG Music, and let me start by saying this: shame on me for never picking this album up a quarter of a century ago. It is fantastic, and even more so because of ORG's care and concern for reviving the brilliance of this album by blessing it with its very first vinyl record release.
Let us take a concise but thorough look at the contents of the album and the betterment that ORG has provided it, via this release. The line up and instrumentation is simple yet dynamic. The entire production is comprised with Jerry Garcia (guitar), David Grisman (mandolin), Jim Kerwin (bass), Joe Craven (percussion) and Matt Eakle (flute). The album begins with a beautiful re-imagining of Miles Davis' "So What," a song that debuted on Davis' Kind of Blue album in 1959. If you are unfamiliar with the title, you will be very familiar with the sound. Taking instruments that were not originally endemic to the original recording, and using them in interpolation is always a fantastic thing, and in this case, it starts the album off with a bang. Immediately subsequently, they move into "Bag's Groove" (distinguished by 'Take 5' in the title), a Milt Jackson composition, originally conceived and performed by the Milt Jackson Quintet in 1952 for Blue Note Records. And though the most recognized and prominent recording of this was a cover by Miles Davis in 1954, it still remains originally a creation of the legendary Milt Jackson. Garcia and Grisman spare us no brilliance with their unusual yet extremely palatable rendition with unorthodox instrumentation.
There then comes along a very impressive interpretation of Miles Davis's 1958 composition, "Milestones," originating on Blue Note Records on an album by the same name. This was such a pleasurable listen, hearing Grisman take the lead position with absolute flawless mandolin and the opposing acoustic accompaniment on guitar by Garcia, not to mention, Kerwin's upright bass is glorious. The album then transitions out of covering legacy Jazz compositions, to a track titled, "16/16," a David Grisman composition that falls more into the realm of contemporary jazz, with a slight Latin flare. This is what I refer to as a 'feel good Sunday driving song', and it fits right in with your soundtrack to a Sunday brunch or a weekend BBQ, or a night out wine-tasting ... this is an absolutely beautiful piece of music, and it is even more beautiful that it's on vinyl record for the first time ever, courtesy of ORG Music. What follows is a light-hearted, second rendition of Miles Davis' "So What," with a slightly more jovial and freestyle edge. It is actually my favorite in juxtaposition with the first version found at the beginning of the album. This happens once more with a second rendition of "Bag's Groove" (signified as 'Take 1') which, coincidentally, is not my favorite out of the two versions on this album, but is actually the first version, signified as 'Take 5' on the track-listing, which I gravitate to, more.
There is then an additional variant of "Milestones" (signified as 'Take 3'), and a third variant of "So What" (note: all of the "So What" variants recorded at different dates but all signified as 'Take 1'), and in which these two tracks come close to bringing the album to completion. Two last offerings, which are both Garcia / Grisman compositions, "Grateful Dawg," and "Dawg's Waltz," bring the album to a head. These are two added tracks (considered as 'bonus' material) not found on the original release, but the original versions found on this duo's self titled debut. These, however, are branded as alternative takes, and not the same as the original productions. They bring the album to a close without creating any sonic conflict, whatsoever. ORG Music, a label that is infused with keeping and maximizing the music of established artists, alive, has hit a massive homerun with this one. Goldmine takes a bow to Jerry Garcia and David Grisman, an gives absolute kudos to ORG Music for this phenomenal release.
(Experience some of the So What album in the song samples section, below)
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Kelley Juett — Wandering West — (2024, Electric Valley / Glory or Death Records)
Genre: Rock Style: Psychedelic, Folk Rock, Blues Rock, Instrumental
Kelley Juett, one third of the Stoner Rock/Hard Rock sibling ensemble known as Mothership, gives fans of the band and fans of the genre, a wake-up call with his new debut solo effort, titled Wandering West. This album is definitely not what you'd expect if you're a follower of Mothership. Might it still call out to fans of the the genre and the style? Absolutely. However, it is more so a personal introspective sonic journey of Juett's that you will be partaking in, if you choose to partake (and it is highly suggested that you do). The Dallas, Texas-based rocker has been giving the music world a taste of absolute throwback hard rock perfection, along with the other members of Mothership, for slightly over a decade now, but the musical ideology of Kelley Juett as a solo performer, is seemingly full of in-depth, emotional and mental self-fellowship, and personal musical exploration, all wrapped up in one sonic ball called a vinyl record.
Juett opens up the listener to a 7-song journey that can be described as spatial, intergalactic, and psychedelic. The collective of instrumentals that are presented on Wandering West, come from the mind of a hard rock aficionado, yet almost exemplify a nod towards jazz-based musicology. Without picking apart each song (which we will be doing shortly), the best way to describe this solo debut by Juett is this: Imagine listening to seven absolutely and totally different variations of Black Sabbath's "Planet Caravan," and inside that musical philosophy and ideology, you will find Wandering West. For fans of Mothership, this may very well be a shock to the senses, but for those who truly get what Juett is accomplishing here, you are in a class who will be truly beyond blessed after just one pass through this album. For myself, it was an absolute spirituous journey with regard to my first listen, one that I am still consciously and actively partaking in every time I decide to pull this album back off of my record shelves, place it on my turntable platter, lower the tonearm, and immerse.
The Wandering West journey commences with, "Jimi's Jammie," a reverberating meshing of intoxicated electric guitar noodling and fretboard love-making, accompanied and supported by the appropriate bass guitar responses. It comes across as if the instrumentation is drifting and floating into a premise that sets the stage for the half dozen more to come. "December Dewdrops," is a repetitive progression which is set in place, seemingly to exemplify a feeling of 'the unknown'. Imagine that you are traveling from a place of complacency and familiarity, and come to a place where you are questioning if you should, in reality, be making the journey, that is the sonic inspiration that I've envisioned from this second song on the track-listing. Traveling along, you might come to a place where you surpass the feeling of contemplation and accept that you've committed to a life altering decision, a 'new way of life', if you will. That, in essence, creates a feeling of passivity and calm, a mindset of acceptance, yet all while still feeling as if it is just you against the world ... this would be exemplary of the following track, "Lonely One." Inline comes, "Breezin'," a heavily bass guitar driven, enlightened offering, that is colored with peaks and valleys of Jeuett's fretboard magic. In the storyline I am painting, this song could be referred to as a track that exemplifies 'hope', and a sprouting realization that the wanderer has made the best decision to partake on the journey at hand.
Subsequently, "Electric Dreamland" makes its track-listing debut. More than likely the most repetitive riffing out of any song in the sequence (which is not a bad thing), additional accompaniment assists the main guitar riff along its massive almost-nine minute journey. Some may attribute this to utter musical monotony, however, it really is not. This song is an essential piece along the journey of Wandering West, and gives a sense that the protagonist in the midst of this musical story is weary, yet inching closer to his destiny. Further along the song sequence, "Mind Mirage" emanates from the sonic fiber of the album, and resonates with the musical essence that the wanderer, though tired and weary, is closer than ever to reaching his final destination. Another extremely sonically repetitive piece, it tends to create the feeling of transcendency and magnetism, pulling toward the 'final destination'. The album comes to its final resting place with "Hello & Goodbye." Maybe my interpolation of this piece may conflict with its title, but nevertheless, I conceptualize within the musical realm of my imagination, that the wanderer, tired, weary and drained, has come to a place that is acceptable and settling, and gives him a reason to bring his journey to a close.
My ideas, my musical vision and my storyline, with regard to the contents of this album, may not even concur whatsoever with the musical vision of the artist, and that is ok. What matters most is that Kelley Juett, as a musician, songwriter and producer was able to create a concept record that was so vivid, so brilliant and so communicative, that I was able to use it to formulate my own story. That is when you know that music transcends the mind of the creator, and infiltrates the mind of its audience. And thus, there is nothing better than that, which anyone can say or critique about the solo musical efforts, of Kelley Juett.
(Hear a song sample from Kelley Juett's album, in the song samples section, below)
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Mandoki Soulmates — A Memory of Our Future — (2024, Inside Out Music / Sony)
Genre: Rock / Jazz Style: Prog Rock, Jazz Rock, Jazz Fusion
If there was ever a story of oppression and persecution mixed with luck, blessing and success, the musical legacy of Leslie Mándoki would be a prime example. As a trained percussionist, he was learned through a stint at the musical conservatory in Budapest, pre-democratic Hungary. In the mid '70s, Mándoki would be immersed in legal conflict with the then communist Hungarian government for his participation as an opposing voice through the student body in Budapest. For his role in opposing the tyrannical Hungarian regime, he would experience incarceration a multitude of times while living in that country's capital city. His earliest professional musical endeavors began while a student, as a bandleader for the local but prominent Hungarian Jazz-Rock ensemble, JAM. As civil conflict with the government in that country continued to escalate, Mándoki would successfully escape the country, methodically finding his way into the free democratic state of West Germany. It is here where his professional music career took an amazing leap of fate.
By the late 1970's, Leslie Mándoki was one of six members of the German disco band, Dschinghis Khan, in the vein of more popular West German disco acts, such as Boney M. The group was formed in order to compete in a national television music talent show in 1979 and ended up ranking fourth in competition. While sufficing for his love for music and desiring to perform professionally his stint with Dschinghis Khan was short lived, as he desired to create music in the Rock genre more than anything. Though he would participate faithfully in group reunions after their mid '80s disbandment (up until early 2000's), after the groups initial break up, Mándoki found favor as a professional drummer and music producer, eventually working with many internationally well-known names in the rock and pop genres including Phil Collins, Engelbert Humperdinck, '80s pop star Jennifer Rush, and Lionel Richie, to name a few.
Monumentally, in 1992, Mándoki would found the first incarnation of his Jazz-Rock/Jazz Fusion/Progressive Rock ensemble, Mandoki Soulmates. The ensemble would be tightly knit, but at the same time, a revolving door with some of music history's most notable names as a part of the groups line-ups over the years (some remaining through every incarnation of the band until now). Over the years, Mandoki Soulmates would be graced by notable musicians such as Ian Anderson (Jethro Tull), Robin Gibb (Bee Gees), Steve Lukather (Toto), Jack Bruce (Cream), Midge Ure (Thin Lizzy, Ultravox), Al Di Meola (Return To Forever), Michael and Randy Brecker (Blood Sweat & Tears, Dreams, Brecker Bros.), Simon Phillips (Judas Priest, Toto, The Who), Lou Graham (Foreigner), Greg Lake (King Crimson, ELP, Asia), Eric Burdon (The Animals, Eric Burdon & WAR) and Nik Kershaw, to name a few. The revolving ensemble have successfully released 10 studio albums since their debut with Soulmates (2002, Paroli Records). In the summer of 2024, Mándoki would release the 11th Mandoki Soulmates studio album, A Memory of Our Future, with some reoccurring guest spot features on this newest Soulmates album, such as Ian Anderson, Al Di Meola, Randy Brecker, Simon Phillips and others, creating a modern day Jazz Fusion/Progressive Rock masterpiece.
As I take you for a walk through the album, I've chosen to highlight specific pieces that altogether give the listener (or the reader) a characteristic overview which best represent the total recording. I don't think that this album could have started off any better that it did with "Blood in the Water." Ian Anderson's incendiary fluttering C-Flute, riffing and prefacing the introductory appearance of the songs' chorus, was exactly what this album needed to kick it off. A track or two down the line comes "The Wanderer." I wasn't sure if it fit my idea of what this modern prog rock / fusion album should be offering, but only Leslie Mándoki knows best, and so after giving it time to fruit it really began to resonate with me. It is a beautifully orchestrated introspective ballad, a story that maybe written about the artist himself. Whether or not that is the premise of the song, it is a thought provoking composition and one that many people should be able to relate to. "The Big Quit," follows immediately. It portrays itself at times as a great example modern day vocally driven jazz fusion piece, and at other times it sonically represents progressive attitudes with regard to the orchestration. It is an a extremely interesting piece that I actually found myself repeating several times before exploring further into the album.
The title track, "A Memory of Our Future," represents a slightly progressive 'New Age' side of the Mandoki Soulmates sound. It uses heavy Spanish guitar accompaniment joined with intermittent horn arrangements in the vein of Contemporary Jazz, sporadic Sitar, and vocal production and arrangements which exemplify a new age tradition in sound and feel. It goes through a phase where it seems like every instrument explodes into a soiree of individual solos all at the same time, as if a jam session, and then returns to its signature quieter sound signature before the track halts. It actually suites the rest of the album extremely well. "My Share of Your Life" is a mid-tempo ballad with refreshing progressive rock and jazz fusion elements. In my strongest opinion, it is not only one of the most well written songs by Leslie Mándoki on this album, but even more so, compared up against the entirety of his discography. The magical lyrical content is supported by perfect melodic progressions and sectional changes, including, but not limited to the wonderful chorus that signifies the basis for the song. As icing on the cake, the orchestration is brilliant! "Age of Thought" is a straight ahead, fully instrumental jazz fusion piece. While it does not possess qualities that differ it from 10 or 20 other phenomenal fusion pieces which I can conjure up in my mental musical archives, it definitely fits the bill when is comes to being an absolutely fantastic jazz fusion composition, and actually competes heavily for being my favorite track on the album. One of the most monumental productions throughout the entire song sequence is, "We Stay Loud," and it remains the composition in competition with the aforementioned song, for my most well loved song on the album. This is a piece that owns almost perfect production qualities and intensely huge orchestration. There is not one thing wrong that I could ever muster up with regard to the quality and lovability of this song. It really stands out like a beacon of light on a hill.
Even though I would say that this album, in its entirety, might for a small few, be an acquired taste, I think for the masses of the fans of true to life music in the world (and there are a lot of us left), this would be a no brainer and end up being a go-to record and not just something you listen to, when you really don't know what you want to listen to. I am very happy to own this record, and I plan on listening to it quite a bit more before switching it out for something else in my music library. Very highly recommended.
(Listen to an excerpt from A Memory of Our Future in the song samples section, below)
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Mestizo Beat — Jaraguá — (2024, Inside Out Music / Sony)
Genre: Rock / Soul Style: Afrobeat, Latin Jazz-Rock, Boogaloo, Jazz Funk, Instrumental Soul
In the vein of all that is representative of the classic era of popular music (1955-1979), and the chronological sub-division within that dispensation that houses the timeframe where Afro-Latino Soul and Psychedelic Rock married into the musical stylization that we've inducted into the category of Classic Rock, comes Mestizo Beat. The band's 2018 single release debut, "Featherbed Lane b/w Handcuffed to the Shovel," on Colemine Records (included as part of the label's Soul Slabs Vol. 2 compilation series), was an incredible blessing to the entire world of music, as it signified the fruition of one of the most incredible band's birthed out of the new millennium of real and unadulterated musical talent. Mestizo Beat evolved during a divinely inspired time, when the huge explosion of successful and influential independent record labels—operating outside of the major label conglomerate—were inundated with putting emphasis on releasing music and signing bands which exemplified a kin to the instrumental soul and psych music that saturated the late '60s and early '70s. This musical movement, in genre and ideology, has taken a foothold—especially inside the realm of modern independent music and record companies—and has made instrumental Soul, Rock and library/soundtrack music a huge 'Revival', within the current state of music.
Many people—including the bands that make the music—might respond to juxtaposing their sound up against legacy bands of the classic era, as offensive. However, it is actually an honor to be compared to bands that have garnered multiple award nominations, sold hundreds of thousands of records and performed in virtually every corner of the globe since the height of the classic era of music. From their first officially released single (mentioned above) to their first self-titled extended play (EP) album, to their then first full-length studio album, Canoga Madness, up until now, Mestizo Beat has grown from an underrated fledgling band, to now, a 'more-underrated' established band that receives a monumental amount of accolades, but still far below the level of accolades they should be receiving. This is a band, that, if you are a fan of Santana, El Chicano, early Chicago (Chicago Transit Authority), Malo, Joe Bataan, Willie Bobo, WAR, Blood Sweat and Tears, Tower of Power, or even classic Afrobeat lineup's such as Fela Kuti or Osibisa, you should feel right at home embracing and delving into, head first, with no reservations whatsoever. With the release of their recent 2024 sophomore full-length studio LP, Jaraguá (on the illustrious F-Spot Records), the band continues to grow and flourish inline with their modern day peers, such as—Antibalas, Orgōne, New Master Sounds, Ghost Funk Orchestra, Mount Worcester and Matador! Soul Sounds, just to name a few. How lucky is Goldmine, that we were privileged to delve into this album for you (the reader) and present to you an exposé that will, without a doubt, prompt you to make the move to purchase this incredible album as soon as you are done with the read.
Choosing a few choice pieces from this album in order to represent the entirety of the production was not an easy task. It is a consecutive plethora of musical brilliance, that choosing just a few to highlight is a bit of a task. But we accomplished that, and we hope that you (who don't already own the album) might gain an overall understanding of what you'll be getting when you do make the choice to acquire the album. The title track, "Jaraguá," initiates the album's beginning, opening up the listener to the core sound of Mestizo Beat, beneficial especially if you're not privy to the sound of the band as of yet. If this is your first experience with Mestizo Beat, you will be inducted by the Afro-Cuban percussion that inundates the intro, and leads you into the remainder of the slight two minute song which incorporates the minimalistic bassline and electric guitar chucking that shines the light onto the past classic sound of their early '70s influences. The second track in the song sequence expounds quite a bit more on the band's sound. "On My Way," immediately blends the perfect mixture of Afrobeat, Boogaloo, Jazz-Rock and Funk, presenting to the listener the quintessential sound of the band. If they never heard another Mestizo Beat song, this one would define the band to perfection. Subsequently, "She's a Rose," contains all of the elements—from what's been heard so far on the album—that have been accurately musically descriptive of the band thus far. However, this track clearly adds an element of 'Blacksploitation' score music into its sonic character. For those old enough (or experienced enough) to remember, it resonates in close relation to Isaac Hayes' original "Shaft" single, and fits the bill to being akin to music of that style, genre and era.
Venturing all the more further into the song sequence, "The Jaguar," in stealthy jungle tradition, creeps right-on-up behind you and pounces upon you as one of the best compositions to be had on Jaraguá. This will immediately resonate with you, in throwback nostalgia (falling in-line with "She's a Rose"), as it takes you back to Black American grindhouse cinematic funk and soul (especially considering Lito Magaña's wah-wah-chucking guitar, and Jose Castro's deeply syncopated bass rhythm). All in all, it exemplifies a style from a time that was so brilliantly and beautifully perpetrated by the master film composers of that time and genre, such as Isaac Hayes, Melvin Van Peebles, Willie Hutch, Barry White, The Art Ensemble of Chicago, Dennis Coffey and Curtis Mayfield, to name a few. "II the Deepcyde" (ft. Jamie Allensworth), is another fantastical example of Allensworth's collaborative efforts with Mestizo Beat. In 2021, the songwriter and vocalist featured on the band's single, "Left Behind," and he returns in 2024 to once again prove to any listener familiar with the band, that he belongs right along side the brilliant musicianship of the Mestizo sound. With regard to the production, the orchestration and vocal performance, the only thing to be said is, "eat your heart out, Curtis Mayfield." The album closes with the very funky, very spacy, intricately ethereal yet quirky, "Cumbia de Jaraguá," a true Cumbia-styled, slightly psychedelic composition (signified by its rhythmic cadence). With its own unique character, it translates to the perfect wind-down from a full-listen to a brilliantly manufactured 10-track sonic soiree.
Everything about Jaraguá speaks volumes with regard to the reason why so many fans of the great 'real music' revival are gravitating toward band's such a Mestizo Beat. The band is also another example of why F-Spot Records continues to hit homeruns with the artist's they sign and the the music that they release. Do not hesitate to seek out a copy of this record for yourselves, as you deep dive back into real music. ⌘
(Experience an excerpt from Jaraguá in the song samples section, below)
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SONG SAMPLES
Gyasi
Hungrytown
Jerry Garcia & David Grisman
Kelley Juett
Mandoki Soulmates
Mestizo Beat
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Contact TONE Scott at: GoldmineMagazine@GoldmineMag.com. Please put Eclectic Discoveries (July 2024) in the subject line.
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