White Bread Black Beer

SCRITTI POLITTI

Nonesuch/Rough Trade

Most Americans know Scritti Politti — if they're aware of the act at all — for its polished post-new-wave hit "Perfect Way" from 1985. Twenty years on, SP survives as one man, Green Gartside, who wrote and performed the lush and luminous pop gem White Bread Black Beer in the back room of his London home.

This is some ear-opening stuff, people. It would be easy to contend that the 50-year-old Gartside is chasing avatars like Brian Wilson and Simon & Garfunkel, then wrapping them in a swaddle of post-ambient sound along the lines of a Robert Wyatt. While this assessment is superficially true, it sells Gartside's artistry short. None of these lustrous melodies sound retreaded; none of his sumptuously layered vocals sound stolen; his gentle, wispy lead singing is very much his own.

Ultimately, White Bread Black Beer raises the bar, which is not to suggest that it's an instant classic like Pet Sounds, but my guess is that, holed up in his home studio, Gartside harbored similar ambitions. While a good portion of his rhythm tracks are built from gauzy, interlocking synth parts, the music evades the chill of electro-pop. He adds just enough shimmering acoustic and electric guitar to add substantial warmth; plus the beats aren't brittle.

Another of Gartside's conceits here is to craft a few suite-like songs. "Dr. Abernathy" begins with dreamy musings, then abruptly segues into blast of bouncy, Squeeze-ish power-pop. The epic "Mrs. Hughes" artfully steers through several discrete movements, starting with an a cappella vocal harmony intro, into a lovely acoustic-guitar-driven section, punched up by a spasm of energetic rock and ultimately ending with a bit of quirky funk. Through it all, the flow is impeccable, turning "Mrs. Hughes" into a multi-part epic instead of a mess.

Gartside has long had a rep as a highbrow lyricist, and here he doesn't disappoint. Don't expect concrete narratives; rather he makes word paintings that can evoke vague feelings or come off as playful puzzles. Here's a taste: "I've been in the marketplace since last July/ Comin' with the force of an illocution/ If you don't have the wherewithal/ You don't need the why."

In all, White Bread Black Beer possesses a rare depth that allows the listener to continually make fresh discoveries and find new pleasures. 4 stars

Eric Snider

Streams of Expression

JOE LOVANO

Blue Note

Over 18 Blue Note albums, saxophonist/clarinetist Joe Lovano has recorded in a dizzying array of settings. Streams of Expression may be his most ambitious project yet. Using a variety of ensembles ranging from 12 pieces to three, Lovano renders a compendium of modern jazz, from the creamy sonorities of Miles Davis' early-'50s cool sound to solemn, Coltrane-esque exploration, from lovely large-ensemble stretches to cacophonous free blowing. The maxed-out CD includes Lovano's five-part "Streams of Expression" suite, three stand-alone tunes and "The Birth of the Cool Suite," penned and arranged by legendary Third Streamer Gunther Schuller. Streams of Expression is more a collective project than a Lovano showcase, and at times his solos, especially on tenor, can come off as a tad effete. But in all, this is one of those epic, challenging (for musicians and listeners alike) endeavors that scores on virtually every count. 4 stars

The Cool Death of Island Raiders

THE OH SEES

Narnack

It's tempting to hear this slice of childish indie-folk as some kind of joke, considering it comes from John Dwyer, former head honcho of the maniacal noise-punks Coachwhips. If it is a joke, it's a pretty good one, because The Oh Sees (credited as OCS on previous releases) expertly sum up the rudimentary indie-pop of earlier bands like Beat Happening and The Vaselines. The static-laden production is there, as are the songs that combine whimsy and "mature" content (e.g. opening tune "The Guilded Cunt"). And hey, why not throw in a pair of pounding drones to unsettle the listener a bit? Never succumbing to the stereotypes that cling to the "freak-folk" subgenre, The Oh Sees have made quite a pretty album, whether they meant to or not. 3.5 stars

This article appears in Aug 16-22, 2006.