Exposé Online banner

Stinkhorn — Stinkhorn
((Not on label) no#, 1997, CD)

by Jeff Melton, 2006-05-01:

Stinkhorn Cover art Stinkhorn was one of Seattle’s most challenging modern jazz quartets, blending John Zorn style motifs and English fusion approaches. Strong comparisons to George Cartwright and Curlew can be made across the group’s two studio recordings. The band’s first self-released recording is a balanced set of compositions and collaborations by all members of the band. Guitarist Brian Heaney was perhaps the most visible presence in the group along with saxophonist Michael Monhart. By navigating between heavy jazz-rock moods and grounded by a capable low end rhythmic structure the band established grooves and allowed for natural improvisation to ooze out. Monhart’s “Spotless Pots” begins with an ambient mode for his tentative free flights before the ensemble gradually adds angst and sonic frustration. Heaney’s “Little One” is relies on a prominent bebop phrase and captures an air of British jazz-fusion that many will relate to. Drummer Howard Ouchi’s contribution, “Otamura” is a melodic duet between percussion and sax, with sax carrying the weight of the lead line against lead guitar fade ins. Closing out the disc is a funky piece of rock entitled “Reasons” where the group interplay is especially strong with Monhart’s frantic leads recalling the fire of the late Elton Dean’s spirited delivery. The quartet’s follow-up CD was a strong step forward further consolidating their unique fusion identity. The songwriting is better defined as heard from the opening title track where both Heany and Monhart’s unison lines leads a no holds barred into a class restrained main section. Monhart’s blistering timing is good as the band propels itself into realm occupied by Phil Miller’s In Cahoots. Heany’s piece “Sonny’s Delight” (assumed to be a tribute to Sonny Rollins) contrasts well with Monhart’s compositions such as “Awa Nights” and “Mongolian Pig Driver”. The first track is a lush tone poem while the latter song relies on some overdriven guitar cadenza to phase into some brash woodwind based controlled chaos. Bassist John Morris supplies three memorable pieces as well of which “Summer Salt” and “Ancient Baby” hold my attention. The former composition is characterized by a strong bass line that lays the best ground work for Heaney and Monhart to mine on top of. “Ancient Baby” is also an intense piece of angst as the quartet’s improvisational level gets further out but Monhart’s Rollins-like play keeps the piece in check. In closing, the group was one of the great local discoveries for the first Progman Cometh festival in 2001 performing much of this material. They disbanded to reform as Sunship in 2003 and are still playing in Seattle today.

by Jon Davis, 2000-10-01:

Stinkhorn is a Seattle jazz group with more than a little rock in their stylistic bag. Not quite as much as Kilgore Trout (reviewed in #16), but way more than is typical these days. They also have a fondness for odd meters, and not even a hint of “smooth jazz.” The four-piece consists of Brian Heaney on electric guitar, Michael Monhart on saxophones, John Morris on bass, and Howard Ouchi on drums. Heaney’s guitar is the first thing you notice, with a crunchy distorted edge, mixing dissonant noises, power chords, and quick runs that sound like they’re at the very edge of control, or even a little beyond. This makes for a great contrast with most jazz guitarists, who tend to sound over-rehearsed even when they’re improvising. Heaney does back off and play the supportive role too, with unusual ringing voicings and repeated patterns. But the guitar is not the only lead instrument. Monhart holds his own, contributing some great solos and melodies. He also pushes the limits of his instrument, squawking and overblowing from time to time, never resorting to warmed over blues clichés. Morris provides solid backing, anchoring the sometimes awkward riffs while Ouchi plays fairly freely, avoiding the trap so many drummers fall into with odd meters: repeating a small set of patterns. Improvisation offsets tighter arranged sections, and the pieces are never predictable. The band is great live, and I look forward to hearing more from them in the future.

Filed under: New releases , Issue 20 , 1997 releases

Related artist(s): Stinkhorn

More info

Latest news

2020-11-20
25 Views of Worthing Finally Gets Released – A while ago, we wrote about the discovery of a "long lost" Canterbury-style gem by a band called 25 Views of Worthing. And now we're pleased to find out that Wind Waker Records has released their music on an LP. » Read more

2020-10-14
Audion Is Back in Business – Our esteemed colleague Alan Freeman has restarted Audion Magazine after a seven year hiatus. The new incarnation is available online on their Bandcamp site. Audion's history goes back to 1984, and included 58 issues up to 2013. Issue #59 is available now, and #60 is in the works. » Read more

2020-10-06
Romantic Warriors IV – Krautrock (Part 2) Is in the Works – Zeitgeist Media, the people who have brought us the great series of documentary films chronicling the history of progressive rock, are working on the second installment of their examination of German music. Krautrock 2 will focus on artists from Münich such as Guru Guru, Amon Düül II, Xhol Caravan, Kraan, Witthüser & Westrupp, and Popol Vuh. » Read more

2020-09-09
Simeon Coxe RIP – Simeon Coxe, best known for his experimental electronics in the band Silver Apples, has died at the age of 82. The band's 1968 debut album set the stage for both German electronic music and experimental punk music a decade later. Coxe died on September 8 from pulmonary fibrosis. » Read more

2020-09-05
Gary Peacock RIP – Legendary bassist Gary Peacock, veteran of many recordings and performances with Paul Bley, George Russell, Roland Kirk, Bill Evans, Tony Williams, and many more. » Read more

More news

Previously in Exposé...

Swåp - Du Da – Swåp, you might recall, is the foursome of two Swedes – Carina Normansson (fiddle, vocals) and Ola Bläckström (fiddle) – and two Brits – Karen Tween (accordion) and...  (2006) » Read more

Emmanuel Borghi & Collectif Mu - Anecdotes & Live au Crescent – These two albums are products of Seventh's developing interest in contemporary French jazz. The lineups on the recordings are similar; they share the same bassist, drummer, and two sax players,...  (1997) » Read more

Turn to Fall - For the Fairest – Turn to Fall is a Seattle-based band that falls into the same general category of contemporary alternative prog that houses The Mars Volta (though less frenetic), Coheed and Cambria (less emo and...  (2008) » Read more

CJ Boyd - Aerial Roots – I previously encountered C.J. Boyd with his group Sexxxtet (reviewed last issue), and while this recording features him without the cellos, there are definitely some musical similarities. The primary...  (2011) » Read more

New Sun - Live at the Back of a Cavern – This simple cassette recording is an accurate live representation of a tight five-piece unit from the San Francisco Bay Area playing at the Cactus Club last year in July. Stretching out in a darkened...  (1997) » Read more

Random review

Listen & discover

Fuming Duck: Fragrant Dish or Angry Bird?

More recommendations
The Eighteenth Dream of Dr. Sardonicus Festival 2019

Print issues