Ramboy 07: Available Jelly: Monuments.

Ramboy 07: Available Jelly: Monuments.
Label: Ramboy Recordings
Catalog Number: Ramboy07
Availability: In Stock
Price: €14.50

Michael Moore, alto saxophone, clarinet, bass clarinet; Tobias Delius, tenor saxophone; Eric Boeren, trumpet, alto horn; Jimmy Sernesky, trumpet; Gregg Moore, trombone, tuba, mandolin, electric bass; Alexei Levin, piano, accordion, organ; Eric Calmes, bass, bass guitar; Michael Vatcher, percussion

Track Listing:

1. Thak's Lunch (G. Moore) 3:35
2. Wigwam 9:36
3. Remy Hira (trad. Madagascar, arr. M. Moore) 2:35
4. Achtung Circus 6:14
5. Shotgun Wedding 6:27
6. Compadre Cosco (Boeren) 6:40
7. Kentucky (Karl & Hardy Davis) 4:29
8. Ci En Ca (Boeren) 3:52
9. Bobbie (Boeren) 3:17
10. Hersinde (Boeren) 5:13
11. Gabriel 2:08

The Little Pieces: 
12. Blee 3:34
13. Kyle 3:22
14. Eef 6:11
15. Ceasar 3:27
16. Dorothy 2:28

Composed by Michael Moore except as noted

Recorded August 1993, De Zuidervermanning, Westzaan,
and October 1993, Felix Meritus, Amsterdam


A large ensemble recorded in two large rooms. Folk music, grooves, and ballads. Available Jelly in transition. Featuring Russian pianist/accordionist Alexei Levin, bassist Eric Calmes, and multi-instrumentalist Gregg Moore.

Monuments features Moore the multi-instrumentalist, world-traveler and musical human-prism where every note, every gesture seems at once a refraction of its supposed source (most of Available Jelly's repertoire is inspired by the sounds of disparate places) and an expression of a propulsive avant-large ensemble sounding board where most individual elements are lost in a storm of collective musical free-play (as opposed to free-improv). 

Available Jelly explodes freaky monster-movie-sounding themes into a clatter of the members' shrieks and bounces back foray into traditional Malagasy music transcribed by Moore. And interspersed elsewhere are bluegrass motifs spun out into this wacky ensemble's range, Peruvian musics heard and recast by trumpeter Eric Boeren into a dizzying, energetic cobble of times signatures and out-shots from various Jellies. The music is top-notch, especially at the dizzying paces at which most of these tunes are taken. But the music is astutely hinged on melodic development, no matter how wildly the non-soloing horns pull at the soloist's trajectories and the overall rhythmic cast. 

Andy Bartlett, Cadence, September 1995