<\/p>\n
\u00a0\u00a0\u00a0\u00a0Let me introduce the <\/span>Jack Spann Band<\/b>. \u00a0If this sounds vaguely familiar, it is probably because Jack Spann\u2019s first CD <\/span>Time, Time,Time,Time, Time <\/span><\/i>was reviewed in the space early in 2016 (specifically April 5, 2016). \u00a0At that time, <\/span>Daystorm Music<\/b> guru <\/span>Gary Tanin<\/b> added <\/span>Time X 5 <\/span><\/i>to the growing list of CDs he had already funneled our way. \u00a0Gary had mentioned sometime last summer that Jack was working on his next project, so I was anxious to see what he was up to. \u00a0<\/span>Time X 5<\/span><\/i> was such a strong album, I did not think he would have to worry about the dreaded \u2018sophomore jinx\u2019 that some artists run into on their second outing.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0What he was putting together was <\/span>The Jack Spann Band<\/b> and a new full length recording entitled <\/span>Beautiful Man from Mars<\/i><\/b>. \u00a0The title track is a reference to Spann\u2019s work with <\/span>David Bowie<\/b> and his long time producer <\/span>Tony Visconti <\/b>on what was to be Bowie\u2019s final record project <\/span>Black Star<\/i><\/b>. \u00a0After Spann had spent time working on the <\/span>Black Star <\/span><\/i>project, the original plan was to have Visconti produce Jack\u2019s debut record. \u00a0Unfortunately, it took Spann longer than he had anticipated to get his material together. \u00a0By the time he was ready to roll, Visconti was engaged in another project. \u00a0Visconti referred Spann to Gary Tanin and that is more or less how WOAS got into the pipeline to receive <\/span>Time X 5.<\/span><\/i><\/p>\n \u00a0\u00a0\u00a0\u00a0In the wake of Bowie\u2019s passing, I haven\u2019t heard a more fitting tribute than Spann\u2019s <\/span>Beautiful Man from Mars<\/span><\/i>. \u00a0The CDs title track doesn\u2019t really begin as much as it approaches from afar.<\/span><\/p>\n It arrives as a sound collage that could be taken from any number of \u00a0\u201caliens come to Earth\u201d movies (and it would be a safe bet that this was exactly their intent). \u00a0The lyrics and structure paint a portrait that says \u201cBOWIE\u201d with Jack Spann\u2019s name scripted nicely in the lower corner.<\/span><\/p>\n I have to categorize hearing the lead and background vocals weave in and out of the mix as more than just listening to the song. \u00a0It equates more as a \u201cwonderful, immersive listening experience\u201d similar to how I felt the first time I donned headphones to lose myself in <\/span>Jimi Hendrix\u2019s<\/b> work on <\/span>Are You Experienced<\/i><\/b>. \u00a0In the end, the song departs similarly to how it arrived leaving one to think, \u201cHow very fitting and Bowiesque\u201d.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0Spann reworked three of my favorite <\/span>Time X 5<\/span><\/i> tracks with his new band. \u00a0The first track reimagined is <\/span>Time <\/i><\/b>and true to his first recorded version of this track, he uses both his vocal inflections and \u00a0piano tones and rhythms \u00a0to great effect. \u00a0Vocally, he can wring more emotion from a single word or phrase than many singers could from a whole song. \u00a0On <\/span>Time<\/span><\/i>, he drives much of the tune with a percussive two note, metronomic piano pattern. \u00a0The actual percussion on the track isn\u2019t shabby either and it compliments the driving piano riff.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Lies<\/i><\/b> big piano\/vocal introduction offers a glimpse of and a tip of the hat to Spann\u2019s <\/span>Billy Joel<\/b> influenced arrangements. Like Joel, Spann writes great stories and then tells them from beginning to end in most interesting ways. \u00a0<\/span>Lies <\/span><\/i>segues nicely into one of the greatest songs Joel may wish he had written, <\/span>She makes pornography on the weekends. <\/i><\/b>\u00a0Enigmatic title aside, <\/span>She makes . . . <\/span><\/i>has lyrical imagery<\/span> that plays out like a video in my mind. \u00a0If it were a Joel song\/video, one would see Billy pounding the keys and <\/span>Liberty Devito <\/b>bashing the drums but in this case, we need to substitute Jack Spann and <\/span>Rob Medcalf<\/b>.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Songman <\/i><\/b>and <\/span>Fear or Loyalty <\/i><\/b>are the other two <\/span>Time X 5 <\/span><\/i>tracks presented on <\/span>BMfM. \u00a0Songman<\/span><\/i> gets an upbeat delivery with a jazzy piano\/bass\/drum groove. \u00a0<\/span>Fear or Loyalty<\/span><\/i> is another fine example of Spann squeezing every ounce of emotion in his lyrics with his vocal phrasing. \u00a0I loved this track on <\/span>Time X 5<\/span><\/i> and I like this version as well. \u00a0It is just a great song and the full band \u00a0arrangement will send new fans back to hear the original version. \u00a0I will give you fair warning: \u00a0this is a tune that gets stuck in one\u2019s head!<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Deep inside <\/i><\/b>employs another Spann arranging trick: \u00a0Start with a big vocal over and equally big music bed. \u00a0This gives way to a quieter vocal bridge that then gears up to a more rock oriented tempo. \u00a0Jack Spann uses these change of pace tactics very well, thereby making these tunes even more interesting than they would be if played at only one tempo.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0I\u2019m not sure how much time Spann has spent in the New Orleans to Austin music interchange, but <\/span>I\u2019m a bird<\/i><\/b> rocks like <\/span>Dr. John<\/b> jamming with <\/span>Elton John <\/b>at the after party for a <\/span>Marcia Ball<\/b> CD release party. \u00a0<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Snooty Acres <\/i><\/b>kicks off with a harp and a megaphone sounding vocal that throws the clock back to <\/span>Winchester Cathedral.<\/span><\/i> \u00a0I\u2019m not sure what inspired this track, but I like it.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Mars in Twilight<\/i><\/b> is a 48 second string interlude that connects the fun of <\/span>Snooty Acres <\/span><\/i>with a light and jazzy <\/span>Just another version of you.<\/i><\/b> \u00a0These two tracks contain so many interesting sounds and textures that you will just have to hear them for yourself; \u00a0I don\u2019t have the vocabulary or skill to describe them. \u00a0Imagine that! \u00a0Music that makes one think about what is being heard.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0<\/span>Jack around<\/i><\/b> is a whimsical tune featuring whistling, clavinet, claves, and perhaps even the kitchen sink. \u00a0It then morphs into a polka speed noodle fest. \u00a0The drummer in Spann\u2019s band must need to caffeine up before performing because the twists and turns in this song must require <\/span><\/p>\n 110% attention span. \u00a0I find myself again turning to a one word description: \u00a0Fun!<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0The album closes with <\/span>Beautiful Man from Mars Reprise. \u00a0<\/i><\/b>\u00a0The piano again approaches from afar, this time without the spaceship. \u00a0Chimes, calliope sounding \u00a0piano and some spacey effects bring you back to where the album began. \u00a0An open invitation to hear track one again? \u00a0I feel obliged to go back and listen to it again and end up playing the whole record.<\/span><\/p>\n \u00a0\u00a0\u00a0\u00a0The bad news? \u00a0This album is being prepped for delivery in 2017 so I can\u2019t actually share it with our listeners yet. \u00a0I assure one and all that it will be worth the wait. \u00a0Kudos to Jack Spann and Gary Tanin for crafting what is already shaping up to be one of my favorite records in 2017.<\/span><\/p>\n Top Piece video: \u00a0This clip goes back to February of 2015 – I just wanted to give you an idea of how versatile Jack Spann is – he has a new band and we will be airing his new Beautiful Man from Mars<\/em> just as soon as it drops!