Jordan Glenn’s BEAK

Jordan GlennBEAK (Geomancy, 2018)

jordanglenn-beakJordan Glenn is a ubiquitous Bay Area drummer, playing in so many jazz/improv contexts including the prog band Jack o’ the Clock and his own pranskerish trio Wiener Kids. With BEAK, Glenn showcases himself as a composer, leaving the playing up to others. It’s a set of coordinated rock jams thick with guitar and percussion — four percussionists! Sometimes they combine for a glorious stomp; sometimes it’s an intricate exercise in counterpoint.

Compositions build off of riffs and rhy, with guitars (Will Northlich-Redmond and Grex‘s Karl Evangelista) drenched in fuzz and surrounded by hand drums. Mark Clifford’s vibraphone adds splashes of extra melody. The percussion barrage, so vital to the album’s overall mood, comes from Geneva Harrison on the drum kit and Robert Woods-LaDue and Robert Lopez on hand percussion. Max Judelson on bass rounds out the band.

Glenn’s trademark sense of humor is found more in the song titles than in the music itself. Sublime moments come in the trilogy of “Coda” pieces, with the easygoing odd-time beat of “Coda 2 – This Is Why We Can’t Have Nice Things” and the lingering haze of “Coda 3 – The Games Chickens Play.”

Some of the album’s most satisfying moments are the quieter ones. “Coda 2” is worth another mention in that regard; it’s a slow burn, a moderate tempo that builds momentum as the odd rhythm latches into your brain. That said, the full-blast bombastic tracks are fun. “Flower Fashion Fantasies” announces the band: “We’ve got guitars! We’ve got four percussionists!” and builds into a frenzy. Later, the track returns in a higher-energy reprise.

Grex Brings Monster Music on Tour

GrexMonster Music (Brux, 2014)

grex-monsterGrex has already toured a little big around Monster Music, hitting some shows on the east coast in July. They’re now in the middle of a west-coast swing:

August 4, Sacramento, CA, 7:30pm at Luna’s Cafe (Nebraska Mondays, w/Luis Clifford Childers

August 5, Sacramento, CA, 8pm at The Witch Room (w/Practice, The Lurk)

August 6, Sacramento, CA, (Grex at 10pm), Live Broadcast on v103, at Marilyn’s on K (w/Devon Galley, Ken Koenig)

August 7, Portland, OR, 9pm, at Slabtown (w/U SCO, The Sarcastic Dharma Society, Drunk Dads)

August 8, Seattle, WA, 8pm, at The Woodshed (w/Insistent Caterpillars, Honey Noble)

August 10, Seattle, WA, 7:30pm, at Cafe Racer (at Racer Sessions)

August 15, Long Beach, CA, 8pm, 4th Street Vine (w/Don’t Trip)

August 16, Los Angeles, CA, 8:30pm, at Curve Line Space (w/Dead Air Trio feat. Joe Berardi)


Monster Music, which came out in February, is a nifty package of pop/prog characterized by bubbly and dreamy electric piano, swinging chords, and regular doses of fiery guitar. Rei Scampavia and Karl Evangelista, the wife/husband team who both contribute vocals, augment the Grex duo with other instruments, but this time, drummer Robert Lopez is a fixture on every track, which somehow makes the songs feel more, well, songlike.

grex-yellowmouseI think of Grex as a prog band, but really it crumples musical styles into one multicolored mix, willfully dropping jazz melody, experimental improv, or rock attitude. A track like “Romancing Stone” reminds me a lot of Pierre Moerlen’s Gong with that pleasant, floating keyboard sound, although here it gets augmented with the more tangly, grumpy free improv that’s also a Grex ingredient. “Christmas Song” is a quirkier brand of prog, with a stringy melody spelled out on warbly keys and/or guitar to introduce Scampavia’s smooth, airy vocal.

Rock elements show up on “Hurdles,” a swirling, jamming piece that pairs fuzzed-out guitar and weighty electric piano, and on the psych jam “Guinea,” with its towering piano-chord theme.

This is the kind of album that’s easy to digest but has a lot going on under the surface, making for multiple rewarding listens. It probably makes for a good show, too, so if you’re on the west coast, don’t sleep on this one.

You can download Monster Music on Bandcamp.