Off White

構成数 : 1枚
合計収録時間 : 01:14:54
James White & The Blacks: James White (alto saxophone, organ), Jody Harris (guitar), Pat Place (slide guitar), George Scott (bass), Don Christensen (drums). Additional personnel: Vivienne Dick (violin), Paul Colin (tenor saxophone), Kristian Hoffman (piano), Adele Bertei (piano, percussion), Ray Mantilla (congas). James White (Rock)/James White & the Blacks: Chris Cunningham, Bob Quine (guitar); Vivienne Dick (viola); Bruce Purce (trumpet); Kristian Hoffman (piano); Rodney Forstall, George Scott, Al McDowell (bass instrument); Patrick Geoffrois, Roibin Marlowe (background vocals); Robert Arron, Lorenzo Wyche, Fred Wells, Jerry Agony, Cherie Marilyn, Paul Colin, James Chance, Jody Harris, Adele Bertei, Luther Thomas, Lydia Lunch, Pat Place, Richie Harrison , Ray Mantilla, Anya Phillips, Don Christensen , Ralph Rolle. Personnel: Lydia Lunch (vocals, guitar); Patrick Geoffrois (vocals, slide guitar); James Chance (vocals, alto saxophone, piano, organ); Adele Bertei (vocals, electric piano); Anya Phillips (vocals, background vocals); Fred Wells, Jerry Agony, Jody Harris (guitar); Pat Place (slide guitar); Robert Arron, Paul Colin (tenor saxophone); Luther Thomas (baritone saxophone); Lorenzo Wyche (trumpet); Richie Harrison , Don Christensen , Ralph Rolle (drums); Ray Mantilla (congas); Cherie Marilyn, Robin Marlowe (background vocals). Audio Mixer: August Darnell. Audio Remasterer: Florian. Liner Note Author: Michel Esteban. Recording information: Big Apple Recording Studios, New York, NY (1978-1983); Blank Tape Studios, New York, NY (1978-1983); Rotterdam, The Netherlands (1978-1983). Photographers: Anya Phillips; Julian Gordon. For Off White, James Chance, a veteran of New York's avant-garde no wave scene, recast his seminal band the Contortions as a parody of a soul band, albeit one incorporating the rhythms of disco and funk rather than R&B. Thus, Chance became James White (as a nod to James Brown), the Contortions became the Blacks, and his music, previously a twisted, experimental brand of avant-jazz, became a disco/funk/free jazz hybrid. As bizarre as the fusion of Albert Ayler and Giorgio Moroder might sound, Off White works primarily because Chance commits to both sides of the music. The disco rhythms, especially on "Almost Black, Pt. 1" and "Contort Yourself" are as pounding as anything Casablanca ever released (even the production is slick and polished), while his sax solos on both those tracks are squawks and bleats that would scare off all but the most committed avant-garde hipsters. He even attempts calypso on "(Tropical) Heat Wave," mixing a languid island rhythm with intricate blasts of noise. By carefully constructing his music with such polar opposites, Chance manages to highlight how both of them have more similarities, especially in rhythm, than would appear at first listen. Off White may be an acquired taste, but listeners who dig into it will have their patience rewarded with some of the most challenging, intriguing music to emerge from the post-punk era. ~ Victor W. Valdivia
録音 : ステレオ (Studio)