BUCK JAM TONIC
BUCK JAM TONIC
Disc one: Tokyo mixed
1/ old dragon (Zorn,Laswell,Nakamura) 4.53
2/ lobo (Zorn,Laswell,Nakamura) 7.18
3/ matagi (Zorn,Laswell,Nakamura) 5.39
4/ toccata for coyote (Zorn,Laswell,Nakamura) 10.20
5/ nu (Zorn,Laswell,Nakamura) 4.53
Disc two: NY mixed
7/ tzu (Zorn,Laswell,Nakamura) 23.29
8/ second sight (Zorn,Laswell,Nakamura) 28.37
9/ panepha (Zorn,Laswell,Nakamura) 15.39
Recorded on December 6, 2002 at Victor Studio, Tokyo
Engineer: Sugamura D.
Assistant engineer: Makoto Hoshino
Disc one mixed at Studio Sunshine, Tokyo, by Tatsuya Nakamura
Mix engineer: Sugamura D.
Assistant mix engineer: Mitsuru Yoneyama
Disc two mixed at Turtletone Studio, New York City, by Bill Laswell
Mix engineer: Michael Fossenkemper
Produced by Tsutomu Fujii
Disc 1 mastered at Sanctuary Townhouse Studios, London, by Frank Arkwright
Disc 2 mastered at Turtletone Studio, NYC, by Michael Fossenkemper
Tatsuya Nakamura: drums; Bill Laswell: electric bass; John Zorn: alto sax, soprano sax.
2003 - Wilddisc (Japan), WDDV-001 (Vinyl)
2003 - Wilddisc (Japan), WDD-004/005 (2CD)
Note: The vinyl version only contains the Tokyo Mix.
The NYer privilege of being able to see a zillion interesting shows on any given night has always made me jealous, but rarely so much as it did when
Painkiller was resurrected for a couple of nights with Hamid Drake on drums earlier this year. Thankfully, the Japanese have released the next best
thing on this pair of CDs: an hour and a half of Painkiller's fatter, funkier brother, the terribly-named Buck Jam Tonic. The two discs make a neat set:
the first was mixed by drummer Tatsuya Nakamura, while the second features three Bill Laswell interpretations of the same sessions. An obvious result
is that there's some overlap of source material between the discs (see the samples of "Nu," from the Tokyo mix, and "Tzu," from the New York mix),
but where Nakamura's tracks are rough-sounding little nuggets of rock, Laswell's are denser epics that build and ebb dramatically (across a wider
spectral range, too) over the course of 20 or 30 minutes. Furthering the variety, John Zorn actually played alto and soprano sax that day instead of just
honking, and Laswell pulled out some monstrous "boWAAAAAAAOW" noises to really get the blood flowing; the effect is a lot like the ugly muscle of
Execution Ground, only with way peppier drumming. Hearing it through two different sets of ears gives BJT some replay value beyond
its fist-pumping qualities, too, so it's more than just a replacement for a concert experience. Get past the awful name and hideous cover, and there's plenty to enjoy.
Taylor McLaren (courtesy of the Brainwashed website)