Maher Shalal Hash Baz is the artistic alter ego of Tori Kudo, a Japanese naivist composer and musician. The name is taken from Maher-shalal-hash-baz in the Book of Isaiah verses 8:1 and 8:3, and translates roughly as "Hurrying to the spoil, he has made haste to the plunder." Maher-Shalal-Hash-Baz is also mentioned in the Book of Mormon in verses 2 Ne 18:1 and 18:3.
The Soft Machine plunged deeper into jazz and contemporary electronic music on this pivotal release, which incited the Village Voice to call it a milestone achievement when it was released. It's a double album of stunning music, with each side devoted to one composition -- two by Mike Ratledge, and one each by Hopper and Wyatt, with substantial help from a number of backup musicians, including Canterbury mainstays Elton Dean and Jimmy Hastings. The Ratledge songs come closest to fusion jazz, although this is fusion laced with tape loop effects and hypnotic, repetitive keyboard patterns. Hugh Hopper's "Facelift" recalls "21st Century Schizoid Man" by King Crimson, although it's more complex, with several quite dissimilar sections. The pulsing rhythms, chaotic horn and keyboard sounds, and dark drones on "Facelift" predate some of what Hopper did as a solo artist later (this song was actually culled from two live performances in 1970). Robert Wyatt draws on musical ideas from early 1967 demos done with producer Giorgio Gomelsky, on his capricious composition "Moon in June." Lyrically, it's a satirical alternative to the pretension displayed by a lot of rock writing of the era, and combined with the Softs' exotic instrumentation, it makes for quite a listen (the collection Triple Echo includes a BBC broadcast recording of this song, with different albeit equally fanciful lyrics). Not exactly rock, Third nonetheless pushed the boundaries of rock into areas previously unexplored, and it managed to do so without sounding self-indulgent. A better introduction to the group is either of the first two records, but once introduced, this is the place to go. - Allmusic
Man with a Movie Camera is a 2003 soundtrack album by The Cinematic Orchestra, released on 26 May, 2003 on Ninja Tune. The album contains re-workings and thematic reprises of some of the music from their previous album, Every Day, including the tracks "Man with a Movie Camera", and an instrumental version of "All Things to All Men" entitled "All Things".
The album comprises the soundtrack to a re-released version of the then ground-breaking 1929 silent documentary film, Man with a Movie Camera from Russian director Dziga Vertov. The Cinematic Orchestra were commissioned to record the score to play as the opening event in Porto, Portugal's year as European Capital of Culture in 2001.
Peace. Out.
Leaving that soul-jazz behind and bringing some nitty-gritty attitude with the mean "Bad Benson". Check the intense "Take Five" as Mr. Benson´s fast fingers add some action into Dave Brubeck´s everlasting classic.
"She had a lot to say and was also unlike any musician I had ever run across before. Her unique quality is something that goes beyond her pretty amazing musical skills. She has that rare 'x' factor of being able to transmit a certain personal kind of vision and energy that is all her own" - Pat Methany
Featuring Victor Wooten ( bass ) and Steve Bailey ( fretless bass ) and Derico Watson ( drums )
Shape of Things to Come is the true signal of Benson's arrival, not only as a major soloist, but as an artist who refuses to be pinned down four decades later. He's a pop star, a genius guitarist, a singer, a songwriter, and even now his own man. This is an album that deserves its classic status and wears it well these many years later. - Allmusic
