Book continues series
t
“Star Bridge : Serpent’s Gift”
A.C. Crispin with Deborah
Marshall
ACE Science Fiction
From Staff Reports
“Serpent’s Gift” is the fourth
volume in « projected five-book
series focusing on a future inter
planetary academy promoting in
terstellar harmony.
This book, unlike the previous
three, looks at the inner workings
of the academy, built on a stray
asteroid in interstellar space.
Into this community come
Heather Farley, a pretecn telcpath
with the ability to invade computer
systems with her mind, and Serge
LaRoche, a talented concert pia
nist who hasn’t played since he lost
both hands in an accident.
An archaeological dig on the
asteroid — began in search of an
ancient landing site of exiles from
one of the known races — is de
clared off-limits when a problem
with radioactive contamination is
discovered.
However, the source of the con
lam ination is an isotope of the main
source of power for interstellar
flight.
11 ■■
Star Bridge: Serpent’s Gift " by A C. Crispin and Deborah
A. Marshall_
' ' VI I-1
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Courtesy ot Delmark Records
Brad Goode’s “Shock of the New”
Mediocre album requires
order; focus to be great
“Shock of the New”
Brad Goode
Delmark Records
While life in general is too orderly
and strict to classify everyone and
everything (ot,so the long-haired hip
pie professional student says), some
order is necessary to exist and make
sense in life.
And so it is in the world of music.
If artists take loo many influences at
one lime, they sound wishy-washy
and don’t develop their own styles to
classify. This is the problem with
Brad Goode on his new album “S hock
of the New.”
A relative newcomer on the jazz
scene, Goode sounds as if he is trying
to display just how diverse and cor
rect he is by showing how many dif
ferent artists have influenced him.
To his credit this docs show off his
technical ability, but it makes the
album hard to handle as a whole. No
one song is terrible, but the album just
doesn’t seem to flow. *
It is one thing to perform a swing
tunc with a Latin influence, but quite
another to try to balance the two. The
result, as often happens here, is that
l neither style is done justice. Fusion/
blues/bc-bop just isn’t all hai pleas
ant to hear and make sense of.
Goode is young, only 28, so he will
have plenty of time to explore ad
equately his various influences and
interests. So why try to cram it all on
one disc?
Goode is a decent enough player,
more than adequately handling the
technical demands of his art form.
Goode also surrounds himself with
players of equal quality. Of note is Lin
Halliday, who is firmly entrenched in
the bc-bop style on saxophone, and
Jodie Christian, who adopts a more
fusion attack on piano. Again, this
typifies the problem of the entire al
bum — too many different styles and
no center to ground the diversity.
This isn’t a terrible album, but it’s
just not a great album. “Mediocre”
would be a good word to describe it.
Hopefully Goode will sort out his
impulses in future albums, because he
has the skills to become one of the
greats. He just needs to focus a little
m°rC’ —James Finley
‘Honkers and Bar Walkers’
provides pure sound of blues,
jazz for die-hard music fans
^Ci/yieM/4
“Honkers and Bar Walkers, Vol
ume 1”
Various Artists
Delmark Records
In the opinions of some people, the
best jazz and blues is the jazz and
blues that is not heard by the masses.
This is an intensely personal art
form that has somehow become em
braced by the masses. When this hap
pens, something is lost. This is why
the purest forms are found in the small
clubs and bars that no one has ever
heard of or been to.
Delmark Records has attempted to
tap into this source to find some music
worth releasing, and they do a decent
job.
“Honkers and Bar Walkers" is an
album of rhythm and blues saxophon
ists from the mid-lo late ’50s. Most
are not well known, maybe known
only to the die-hard fans of the genre.
Nonetheless, this album is filled
with quality examples of the music
that has shaped popular music ever
since. This is the “roll”of rock ‘n roll.
The album starts out with a totally
honkylonk version of the burlesque
classic “Night Train” by Jimmy For
est. One can almost sec the women
slinking around the stage while Jimmy
and the band blow that sex beat.
From there, the music tones down
just a little, but not much. Cozy
Eggleston contributes two solid blues
tracks with “Cozy’s Beal” and “Big
Heavy (Blue Lights Boogie).”
Teddy Brannon also adds a great
drinking song in “Everybody Get
Together.” The camaraderie can be
heard in the vocals, and the group
sounds tight— mix ing blues and swing
influences.
Many other artists contribute to
this album, with no one track really
standing out, but each is a reflection
of the soul of the man blowin’ the
horn. Fred Jackson contributes two
tracks, and Paul Bascomb adds a fun
tunc with “Pink Cadillac.”
The entire album is equally solid
and diverse, mixing rhythm and blues
styles from across the country at that
period. Each track has been cleaned
up and sounds remarkably good, con
; sidcring the recording techniques of .
the lime.
This album is a great introduction
to some lesser known practitioners of
the art of blues.
Reviewer’s Note: The reviewer of
this album is a saxophone player, and
thus his views are slightly warped
anyway.
—James Finley