Recent Listening - In Their Absence

Thoughts on two records featuring the compositions, but not the playing, of two of the most distinctive instrumentalist-composers of the past fifty (or so) years:

Charlie Haden w/ Don Cherry & Ed Blackwell - Montreal Tapes
I've been gradually acquiring Haden's Montreal Tapes albums as I come across them. There are ten or so in all, recorded live in '89 and each featuring Haden with a different lineup. This is one of the best I've heard so far and one of the best of the "Ornette without Ornette" genre that is best exemplified by Old & New Dreams. This is essentially that group minus Dewey Redman, or to think of it another way, the Ornette Coleman Quartet of This Is Our Music minus Ornette. Ornette's music tends to bring out a special dimension in Haden's playing, and his sound is very much large and in-charge on this set, which is made up of six Ornette tunes and two from Cherry. There's a wonderful moment in "Lonely Woman" when Haden starts playing the old folk outlaw song "John Hardy" ("...was a desperate little man / carried two guns every day"), flaunting the freedom available in Ornette's music, which is large enough and open enough to contain the folk and country Haden grew up with. And what really makes this passage work is the way Blackwell comes in to simply but perfectly support Haden's line. (Apparently, "John Hardy" also pops up on the Ornette Reunion 1990 live set, which I intend to get soon.) I tend to enjoy Don Cherry most when he's playing Ornette's music - I love hearing those unison heads and his interactions with Ornette and/or Dewey Redman - but he carries the front line very well here on his own, standing on the powerful yet fluid foundation created by Haden and Blackwell.

I also revisited the Quartet West record Haunted Heart after reading Haden's comments on the passing of drummer Larance Marable on DTM and it was even better than I remembered it - a super-evocative and well-balanced blend of standard ballads, bebop tunes (by Charlie Parker, Lennie Tristano, and Bud Powell), and originals inspired by classic Hollywood and/or noir. On the ballads, Haden reverses the procedure sometimes used live by the Bandwagon of playing a recording (of Billie Holiday, for example) and then launching into an improvisation based on it. Here, the vintage vocal performances (by Jeri Southern, Jo Stafford, and Billie Holiday) follow and sort of flow seamlessly out of Quartet West's renditions of the tunes. As this is the only one I've heard, I certainly need to catch up with the rest of Quartet West's output.


Motian Sickness - For the Love of Sarah
I mentioned this album in my previous post and have now had the chance to check it out in more depth. Motian Sickness is West Virginia/DC-area drummer Jeff Cosgrove's Paul Motian tribute project, apparently conceived and recorded before but not released until after Motian's passing last year. After the group name, the instrumentation is the first thing that might raise eyebrows - mandolin/viola/bass/drums. While the mood and the approach taken to the compositions is very much in the spirit of their composer - this isn't Pickin' on Paul: A Bluegrass Tribute to Paul Motian - the mandolin does give the music a dimension that isn't present on any Motian recordings I know of. There's no one dominant voice, but the mandolin (played by Jamie Masefield of the stylistically eclectic Jazz Mandolin Project), with its distinct timbre and characteristic tremolo picking technique, is the element that first grabs the ear in this context.

There's some good background on the album in this interview with Cosgrove. One interesting point is that the album was originally supposed to feature fiddle and that violist Mat Maneri was a last-minute sub. As Maneri is a strong and distinctive musical voice and a veteran of a few different Motian groups, I can only imagine that this would've been a very different record without him. Despite the unusual instrumentation and charismatic players, Motian's compositions still exert the strongest influence on the overall sound - it seems that however they're arranged, they bring their own inescapable mood, evoking sometimes nameless emotions. "Dance", which originally appeared on an ECM trio record with David Izenzon and Charles Brackeen, works well here as an opener.  Relatively brief and upbeat but a bit thorny, it's a good intro into the Motian sound-world, preceding a plunge into the deeper, darker waters of "Conception Vessel".

Many of the following tunes are ones I associate with Motian's Soul Note era (though he recorded most of them multiple times), and the tracklist reminds me of the depth of Motian's catalogue (and the potential for a Motian Sickness sequel) in that it's full of strong tunes despite the fact that it includes almost none of the ones I might list as my favorites or the ones I'd be most likely to recognize in a few notes (there's no "Abacus", "Etude", "Byablue", "Cathedral Song", "Blue Midnight", "Yahllah", or "Drum Music"). Motian Sickness has already brought me back to the Soul Note records (some of the best and, until the recent box set reissues, perhaps least known of Paul Motian's recording career as a leader) with renewed attention and given me a deeper appreciation of tunes like "The Owl of Cranston" and "The Story of Maryam". Ending with "Trieste" was another good sequencing choice, closing the record with one of Motian's loveliest and most melancholy tunes, highlighted by Maneri's viola.

Cosgrove has, of course, the difficult task of being the drummer on a Paul Motian tribute record, a situation that doesn't exist on recent Motian-themed records by Russ Lossing (solo piano) and Joel Harrison (on guitar with his String Choir). He doesn't seem to be copying Motian's style (which would probably be impossible to pull off convincingly, anyway), but his playing does seem to embrace the more open, free, coloristic side of Motian, with an emphasis on interplay and reaction. The bassist, John Hebert, set himself a similar challenge last year when he assembled a Charles Mingus tribute group at the Stone (one of the best sets of music I saw all year). I don't know if he ever played in any of Motian's bands, but they did play together (here's some video of them with Russ Lossing) and, as seems to be the case in just about any situation, his sound and his ideas play a major role in shaping the music on this album. Insomuch as there's any such thing as a "standard repertoire" anymore, I hope For the Love of Sarah will play a part in cementing Paul Motian's place in it.

[Update: Just noticed that the Bad Plus plus Bill Frisell set from Newport has been posted. Four of five tunes in the set are by Paul Motian. If you've somehow read this post to this point and are not already aware of this set of music, YOU ARE ADVISED TO LISTEN TO IT IMMEDIATELY. Frisell's guitar sounds on this. Oh man.]

Bonus Links
I've been reading some older essays on Kyle Gann's blog lately (his pieces on just intonation and historical tunings are by far the clearest explanation of these subjects I've ever seen) which led me to this series on the history of American piano music by pianist-composer "Blue" Gene Tyranny. All of this has had me Googling and YouTubing all sorts of amazing piano works. One new favorite is Lou Harrison's Piano Concerto from the mid-'80s performed by Keith Jarrett.

Next time out, I'll probably be talking recent pop/rock-oriented records and stuff I bought in Chicago (good haul at the Jazz Record Mart).

Talking Motian

Check out this panel on Paul Motian with the drummer Matt Wilson (who recently organized a tribute band, Mumbo Jumbo) and frequent Motian band members Steve Cardenas and Chris Cheek (video is in 4 parts starting here). They tell some good stories and provide some insights on the man and his music. And unlike so many panel discussions, the moderator mostly stays out of the way and lets the participants have a free-flowing conversation. I hope somebody can make the imagined book of Motian compositions that's discussed into a reality - that's one Kickstarter campaign I would most certainly contribute to. I also hope the Mumbo Jumbo band plays in NYC soon. One last link: the Motian tribute with bluegrass instrumentation that's mentioned in the panel can be found here and it sounds mighty fine.

Talibam! & Sam Kulik's Discover AtlantASS

In a Village Voice piece previewing the initial production of their Discover AtlantASS project, the musical duo Talibam! dropped (coined?) the term "post-goof", which is not a bad way to describe something that features the production values of a grade-school play, music that combines substantial chops with sub-juvenile humor, and includes, among other attractions, a more-than-healthy amount of simulated sex with stuffed animals, including a Muppet-like crab (and yes, they seize the opportunity for a "crabs" joke) who is actually something of a major character.

Kevin Shea as Franklin, the boy who comes from "the surface" with his magic pillow to save Atlantis (further plot summary would probably have diminishing returns), brings the same manic energy to acting as he does to drumming. Even with all the other strange things happening on stage, he's hard to look away from. Musical interludes are frequent, often taking the form of pop song-length, plot-related pieces with Kulik most often on vocals and either bass or trombone, and the Talibam! duo on their usual instruments, drums and effects-juiced keys (though all three contribute vocals, sometimes shifted an octave up or down). If the idea of avant rock/jazz/improv dudes performing songs like "Squeeze My Nuts in the Barnyard" while wearing funny pants sounds like your kind of thing (and I didn't realize it was my kind of thing until I saw it), I'd certainly recommend checking out AtlantASS if it's ever staged again. If that doesn't happen, there is a CD/comic book package available.

The show had various "opening acts" throughout the recently concluded run upstairs at St. Mark's Church. I was lucky enough to see Christopher Meeders' performance of Ursonate ("Ur-sonata"), the proto-sound poem by collagist Kurt Schwitters. It was virtuoso stuff, both hypnotic and funny, and seemed to put the audience in the appropriate anything-can-happen frame of mind to appreciate what followed.

Brief Notes on Recent Shapeshifter Shows

The new Shapeshifter Lab in the Gowanus is really taking off, with strong bookings multiple nights a week for the past month or so. I was able to catch the trio Sun of Goldfinger (Tim Berne, David Torn, Ches Smith) at the Lab last week. It was a great follow-up to the recent Tim Berne/Nels Cline/Jim Black appearance at the same venue. In either case, take Tim Berne on alto, add a guitar magus/shaman/mad scientist and a heavy, multi-genre-spanning drum presence doubling on electronics, and you've got something that could be its own sub-genre of improvised music, though I wouldn't know what to call it.

I also saw the middle night of Oliver Lake's three-night run at the Lab, which featured the Darius Jones Trio playing before Lake's Organ Quartet. I've been enjoying Jones' new quartet record, but seeing the trio (Jones is the only musician the quartet and trio have in common) made me realize I need to catch up with his earlier stuff too. Jones' musical voice is strong and clear and there seems to be no limitations on what he can do technically on his instrument. Seeing him play with Oliver Lake was a pleasure, with Lake stepping in to contribute some fiery solos on a couple of Jones' tunes.

I think this was my third time seeing the Organ Quartet, and what I noticed most this time was the richness of Lake's compositions. They can be enjoyed, but certainly not wholly apprehended at first listen (at least not by me). There's a lot going on in these tunes - rhythmically, harmonically, structurally - and the format - alto/trumpet/organ/drums - adds to the sense that Lake has carved out his own territory with this music. It's recognizably part of a tradition (or maybe multiple traditions) but there are no real, obvious antecedents that come to mind. I'm looking forward to hearing how Lake's compositions sound on the big band record he's been working on.

Three Nights in May

Psychic Paramount @ Le Poisson Rouge
I finally got the chance to see the Psychic Paramount, the heavy, vocal-less guitar-bass-drums trio whose albums I've been enjoying for the last year or so (especially the latest, II). There's a great purity to what they do, with everything, including their look, stage lighting (and smoke!), and album packaging contributing to the total effect. And it is very effective. On record, their sound is an enveloping, physical experience (and a frightening one if you've been listening to something quiet before a Psychic Paramount album comes up on the iPod - they master their music LOUD). Live, they sacrifice none of the precision of the studio and, as it should be, the experience is more overwhelming.  As in any successful trio, and especially for one that produces this big a sound, all three musicians have to pull some serious weight. Jeff Conaway on drums sets a high level of intensity while getting into some complex patterns and remaining locked in with Ben Armstrong's bass, which is often the most steady, insistent rhythmic element, relentlessly propelling the music forward. Drew St. Ivany, on Les Paul, alternates between contributing to the rhythmic drive and taking effects- and feedback-aided solo excursions. Much of the variation and drama in the music comes from these shifts in what the guitar is doing. There's no loud-quiet-loud here, but it is surprising how many different kinds of loud these three musicians are able to produce.

Fred Hersch/Dave Holland/Billy Hart @ Jazz Standard
On paper, this lineup sounded like the product of a very hip jazz fantasy league draft. In practice, this was a dream team that lived up to its promise, giving me the feeling that I might just be listening to the world's greatest piano trio (though I really wouldn't want to get into a debate on that question - how can you compare, for example, Hersch's regular working trio with John Hebert and Eric McPherson - just about the gold standard these days - with The Bandwagon and The Bad Plus, two long-running trios who are almost in their own separate categories, existing in musical worlds of their own creation?) The set included some tunes from Hersch's repertoire - "Still Here", Ornette's "Forerunner" (probably the best version I've ever heard from a Hersch group, surpassing even a very memorable one at the Vanguard with Paul Motian) - as well as at least one Holland composition and, to close, Charlie Parker's minor-key "Segment".

I was seated to extreme stage left, so that I was closest to Hart's kit. From this location, the sound mix was a bit off, but it was worth it to have such a privileged vantage point on exactly what the drummer was doing. I don't recall hearing Hart in a piano trio context before (though there are some fine trio moments on his latest quartet album, All Our Reasons), but he supported Hersch beautifully and the feel he brought to the music was supreme. Holland played through an amplifier, which didn't seem to color his tone much but did help make every note distinct (something his technique had a lot to do with too, I'm sure). He seemed to be having a ball playing with Hart, and his solos were full of clear, spontaneously realized ideas - he seemed to be improvising in complete sentences. There was a nice moment on Hersch's "Mandevilla" where Holland played a brief idea based on a descending pattern, only to have Hersch echo it part way through his solo which followed - just the kind of detail that makes piano trio music, at its best, a deep, rich music rewarding (and sometimes requiring) close listening. There were also a few of those moments which seem to happen in every Hersch set, and on his records, where he seems to have reached a peak of invention in the course of a solo only to go beyond it, fluidly unspooling a few more yards worth of brilliance before coming back to earth (apologies for the mixed metaphors!).

Milton Babbitt Retrospective @ Elebash Recital Hall
This memorial retrospective at the CUNY Graduate Center, featuring nine of Babbitt's compositions spanning almost 60 years, was a good crash course for me. I'd heard only a few Babbitt compositions, though I did get the chance to see the massive (and currently non-working) RCA Mark II synthesizer he used up at Columbia a year or so ago. Perhaps because it was the first time I was hearing many of these extremely dense, complex pieces, I tended to enjoy the solo works best, particularly None but the Lonely Flute, More Melismata (for cello, and one of Babbitt's last works), and My Ends are My Beginnings (in which a single performer alternates between clarinet and bass clarinet). While the program was full of impressive performances, the undoubted highlight was Philomel, the Babbitt work that is probably most often tagged with the term "masterpiece". Like "masterpiece", "stunning" is an overused term of praise, but it accurately describes the effect of Judith Bettina's performance (in conjunction with the backing tape featuring the Mark II). Combining otherworldly (and now probably unrepeatable) synth textures and Ovid-derived serialist arias, Philomel (composed in the Year of Beatlemania, 1964) is still a revelation (as Ethan Iverson put it in his Babbitt obit, this is "permanently avant-garde" music). If you follow that last link, I recommend you go one step further and check out the really excellent Babbitt documentary Iverson links to (also available on YouTube).

Peter Stampfel @ Brooklyn Folk Festival

Peter Stampfel utterly lacks all the qualities that sometimes make folk music boring to me. Though his knowledge of American music matches that of the most scholarly revivalist, none of the following adjectives apply to him: tradition-bound, conservative, retrograde, humorless. While he plays multiple instruments, including a mean fiddle, Stampfel's art is one in which instrumental technique for its own sake is not a concern. His voice is, and has been for almost 40 years, one of the strangest in any genre of American music, though it wouldn't sound out of place on the Harry Smith Anthology - for which he contributed Grammy-winning liner notes - among the likes of Dock Boggs. This live uke rendition of one of Stampfel's signature covers, "Goldfinger", makes for a bracing immersion in the man's singular artistry. I'm glad whoever made this video got some audience reaction shots - lots of smiles ranging from politely baffled to genuinely amused, a few blank looks suggesting a state of shock, and one dude absolutely loving it.

My first exposure to Stampfel was via a live album he made in the mid-'90s with Chicago's Dysfunctionelles, a band of folk-rock weirdos every bit as great as their name. Though they played at least one show with fellow founding Rounder Steve Weber, the album, Not In Their Wildest Dreams, just features Stampfel and was compiled from shows in New York and Chicago. The album features Stampfel classics like "Griselda" and "Hoodoo Bash" and wacky covers of "Be True to Your School" and the Springsteen/Pointer Sisters "Fire", but it may have been Stampfel's solo banjo version of "Goodbye Yellow Brick Road", from a soundcheck, that made the biggest impression on me. Desert island material, for sure. Unhinged but capable of playing anything, the Dysfunctionelles seemed like the ideal band to stimulate and support Stampfel's peculiar genius, and it's a shame their collaboration produced just the one micro-label tape (which I desperately need to dig out of storage and transfer to digital - my comments above are strictly from memory). I did find an old article from the mid-'90s that referred to a planned follow-up session, but as far as I know nothing ever came of it. Note to the possessor of the master tapes: Not In Their Wildest Dreams deserves a reissue - a digital download, a CD, vinyl, whatever!

At the Folk Fest, Stampfel played one tune that I knew from Wildest Dreams, "Screaming Industrial Breakdown", which also appears on 1986's Peter Stampfel & The Bottle Caps. Robert Christgau has a typically perceptive appreciation of Stampfel in which he reviews the Bottle Caps album. Though not wholly uncritical, he goes so far in his enthusiasm as to declare it better than the contemporaneous Psychocandy(!). I found a vinyl copy a couple years ago, and it is, as Christgau says, "well-made", but despite having strong songs and imaginative arrangments, it suffers a bit from the unmistakable time-stamp of a well-made '80s record - yes, even folk-rock records on Rounder had that reverb-y drum sound. I'd like to hear some of the later Bottle Caps recordings, as these guys are clearly excellent musicians with a feel for Stampfel's music.

His current band, the Ether Frolic Mob (I hope they were named in honor of this Bugs Bunny cartoon), which in this incarnation included a variety of stringed acoustic instruments, an electric bass, Stampfel's daughter Zoe on percussion and vocals, and fellow '60s folk legend John Cohen on guitar, is agreeably loose and plenty capable of getting in the right spirit for this music. Their too-brief Folk Fest set started with "Shambalor", setting the bar high for weirdness (read more about this incredible '50s artifact here), and peaked for me with "Demon in the Ground", an answer song to/parody of "Spirit in the Sky", which Stampfel instructed the band to play with (if I heard correctly) a "boogie shuffle machine"(!) feel. My repeated exposure to the latter on classic rock radio as a teenager primed me to appreciate the Satanic glee (and who can do Satanic glee better than Peter Stampfel?) of the former, including the lyrics "I gotta friend in Sa-tan" and "when I die my soul will be cursed/I'm gonna go to the place that's the worst".

I also saw Dennis Lichtman's Western Swing outfit Brain Cloud at the Festival. They escape the trap of merely turning out museum-quality reproductions of period music (something they clearly have the chops for) with song choices both obscure and wide-ranging (true to the spirit of the original Western Swing bands, which drew from blues, Dixieland and Big Band jazz, country, and various strains of "old-timey" string band music to create one of America's most ear-catchingly potent though still somewhat underappreciated forms of music) and the presence of vocalist Tamar Korn. Korn's vocals, seemingly inspired by the great radio and Big Band singers from, I'd guess, Annette Hanshaw to Ella Fitzgerald, feature many of the vocal mannerisms common to that era, but eccentrically magnified to great effect. Lichtman and company succeed by doing justice to the inherently lively quality of a style that was essentially created as dance music, and at the Folk Fest they received the best possible endorsement by inspiring widespread dancing in the crowd.

Top Ten Things Currently on My iPod

In no particular order:

Sebadoh - Harmacy
I imagine this is an unusual entry point into the Sebadoh catalog (I almost entirely slept on them in the '90s), but I picked up this second last of their records after hearing "Ocean" on The Best Show on WFMU. Best Show boss Tom Scharpling's interview with Lou Barlow on the Low Times podcast also pushed me toward finally catching up on this band. With a mix of well-written, often moving jangly pop songs broken up by shorter, harder punkish outbursts, Harmacy is a mighty fine electric guitar record considering this was a band that made their name mostly with lo-fi acoustic recordings.

Miles Davis - Big Fun
A copious mixed bag spanning a few years worth of different sessions and employing an all-star army of musicians, this is a strong and semi-essential if not a cohesive electric Miles record. There's a particular pleasure, almost unique to '70s Miles, in hearing some of these long, sketchy pieces coalesce into the beautiful and/or wildly grooving passages that justify the whole enterprise. Miles did seem to be making truly "experimental" music in that there seems to be no way he could've fully anticipated the results of the musical situations he was setting up. Teo Macero's cutting, pasting, and sound manipulation, so important a component of Miles' studio work in this era, is very much in evidence here, nowhere more than on "Go Ahead John", with its wild noise gate effects, hard whip pans, and multi-Milesing overdubs.

Jack White - Blunderbuss 
This first White solo record has enough strong songs and stylistic diversity to make it highly re-listenable. Once it's done, I want to hear it again. Scattered notes: the title track reminds me of a Dylan song, though I'm not sure which one ("Isis"? "Time Passes Slowly"?); White makes good use of keys and acoustic instruments, expanding on a trend which started to appear on later White Stripes records, but there are still enough deliciously nasty guitar tones here to meet expectations. In fact, there's even a moment that reminds me of John McLaughlin's damaged, can-of-bees solo from the aforementioned "Go Ahead John".

Richard Strauss' Don Juan (NY Philharmonic 1998 live recording)
I still haven't quite connected with the rendition of Death and Transfiguration on his disc, but the Don Juan is exuberance itself and I can't get enough of it. Now I need to seek out more versions of both and go on a Strauss tone poem binge.

Nick Lowe - The Old Magic
In which Lowe continues to refine his already quite aesthetically refined, relaxed late-period style - retro in a non-period-specific way, with mellow sounds often serving as camouflage for the lyrical barbs that have never not been present in Lowe's music. His recent show at Town Hall presented this music in the best possible light, and it was a treat to finally see him with a full band (including frequent collaborator Geraint Watkins, quite an artist in his own right and sort of a Welsh Spooner Oldham), though he's just as effective as a solo performer, a fact that testifies to his personal charm onstage and the strength of his songs.

Ches Smith & These Arches - Finally Out of My Hands
Although these musicians, individually and collectively, have a penchant for (usually quite rewarding) trips to Weirdsville, this album is distinguished by some really strong, even hummable, tunes. Disc opener "Anxiety Disorder" is one of the strongest and features some especially fine drumming from Smith (love that fast cymbal pattern!).

BB&C (Tim Berne, Jim Black, Nels Cline) - The Veil
Though I missed the Stone show documented on this album, I did catch the trio (also known as the Sons of Champignon) at the promising new venue Shapeshifter Lab in the Gowanus. It's obvious that Tim Berne is not a musician to be easily intimidated, as evidenced by his willingness to step onstage with guitar demons the likes of David Torn or Nels Cline armed only with an alto saxophone, looking to the uninitiated like a man bringing a knife to a gunfight. Fortunately, this music is about collaboration, not competition - if the music sounded violent at times, it was a three-way, collaborative violence.

It's hard to describe the kinds of sounds Nels Cline is capable of producing, and at close range in a smallish venue, it can be an overwhelming, immersive experience. If a Wilco show doles out the high-proof Nels in sensible drams, contained-though-dramatic outbursts, this was like bathing in the stuff, football-coach-Gatorade-bath-style. At a few different points, Cline and Black locked into some ferocious grooves, driving the music along with an incredible intensity. At other times, when Black switched to laptop sound manipulation, it was possible to imagine Berne's saxophone as a lone human voice calling out amid the electronic thunderstorm. An argument could be made that this group is the legitimate successor to Motian-Lovano-Frisell, the drums-sax-electric guitar trio. Though their music may seem radically different on the surface, there is some overlap in the textures and moods the two groups explore as well as a history of collaboration and influence (Berne recorded with both Frisell and Motian, Cline and Frisell have collaborated live, and I once saw Black studying Motian at the Vanguard from the front row, directly in front of his kit).

Billy Hart - All Our Reasons
I've been listening to this for about a week now, and it keeps getting better. It's well-written, well-played, well-recorded, and most importantly, is animated by moments of spontaneous invention and surprise of the kind that aren't always captured on a studio record. Current favorites are Mark Turner's "Nigeria", which ends with the kind of interplay between Hart and Ethan Iverson that I enjoyed so much when I saw this group live, Iverson's "Ohnedaruth", with a piano intro (featuring a hard-to-describe but very distinctive touch and rubato-ish time feel - sort of swaying rather than swinging) which is one of the album's most ear-catching moments, and the memorable closer "Imke's March", composed by Hart and bookended by group whistling(!).

WTF
Marc Maron has done some excellent interviews on his long-running podcast in recent weeks, including a surprisingly personal look into David Cross' childhood and early career and a very easy, free-flowing conversation with a man whose outlook I always find inspiring, the Flaming Lips' Wayne Coyne.

The Pod F. Tompkast
I haven't even scratched the surface of everything that's going on in comedy podcasting right now, but it's hard to imagine that anyone is doing more with the format than Paul F. Tompkins. I can't recommend starting with the latest episode (#17) if you're new - this is one of those things that's best experienced from the beginning - but it is one of the funniest I've heard. Tompkins is developing the stream-of-consciousness, improvised monologues (accompanied live-in-the-studio by Eban Schletter's piano) he does between recorded bits into a viable comedic form that he totally owns.