Note of interest: According to his web site (www.tommaxwell.com), Samsara is an ancient Buddhist term, referring to a state of perpetual discontent (the opposite of Nirvana).

There's something about Tom Maxwell that's always just a bit odd. Good odd! Turns out, he is one severely talented guy.

The first time I saw him in action, I was lounging with some friends, out in the country. It was very late, and we were all just about ready to retire for the evening. MTV was on the screen, reiterating the usual, highly ignorable rock video mush. Then suddenly this incredibly hip sounding swing band comes on, with blaring, unison horn riffs that sound like they're inspired by eastern European Klesmer music. There's a very unusual but beautiful looking woman strumming a banjo (!!) and a somewhat unusual looking guy confidently singing over it all. We all immediately perked up, astonished and puzzled. When the video finished, I said "Who the hell was that!! Damn, that was cool." Turns out it was the Squirrel Nut Zippers doing their biggest hit: "Hell", which was penned by Maxwell. Since then I've become a fanatic SNZ fan, and I continue to approach them on a "buy new album first, ask questions later" basis.

With his solo project, it becomes clear that Tom is the source of much of the eccentricity and variety so strongly associated with the Squirrel Nut Zippers. The first few numbers could easily fit on a SNZ record, with their heavy swing and their tight Dixieland / early jazz style horn arrangements. He even covers a Duke Ellington tune, "The Mooche".

On his own, however, Maxwell can shift gears even more quickly and try some even more radical instrumentation concepts. "Can't Sleep" has modern drums and electric bass, but it features the vocal quartet "Remember" and certainly doesn't skimp on the horns. I have no idea precisely what the influences are; my best guess is gospel, R&B and early blues. You've never heard anything quite like it.

"You Always Get What's Coming" is Tom singing a minor blues... with pipe organ accompaniment! Trippy? Oh, yes!

Tom Maxwell's many obscure but authentic influences seem to make him invincible as a composer, songwriter and arranger. (Never mind the fact that he sings & plays guitar, saxophone, clarinet & even drums on one track.) Always entertaining and enigmatic with the SNZs, it seems that his talents are even further used for good, relieved from the constraints of a fixed band lineup. "Samsara" is a real gem. It took a few passes for me to catch on, but now I'm delighted by every track.

Squirrel Nut Zipper Jas Mathus a side project as a benefit for his old nanny Rosetta, who turned out to be the daughter of Delta Blues great: Charlie Patton. Very pared down and bluesy compared to his SNZ output. It feels nice and informal and loose, and they do some really great songs.

Geddy Lee once joked that the latest Rush album was "about as funky as white Canadians get". Now, no one enjoys a little self-depreciating humor more than I do, but I just have to think that Geddy wouldn't have made that quip if he'd known about Blackie & the Rodeo Kings. These guys have enough soul between the three of them to melt Kryptonite, and they proceed to do precisely that (in a fashion) on their two records.

Stephen Fearing, Colin Linden and Tom Wilson are all world-class singers, songwriters and guitar players in their own right. By way of a miracle, they each took time out of their respective careers to group and cover the songs of their mutual idol: Willie P. Bennett. The result is their first album: High or Hurtin'. (The album and the group names are extracted from Bennett song titles.) In their second album, the double-length Kings of Love, they rectify some critical Willie P. Bennett omissions from the first record, then branch out to cover material from a wider variety of sources, including Bruce Cockburn and Fred Eaglesmith. They also treat us to some of their own compositions.

The lo down is: both records are absolutely devastating. They have a huge, wide open sound just a little reminiscent of The Band, with superb production. You probably haven't heard about these guys because they are Canadians, and the corporate distribution / promotion machine has decided for us that we are more interested in Ricky Martin.

Well I, for one am more interested in this group (no offense, Ricky). They have become my gospel. Some people go door to door plugging their preferred version of biblical history. I bug all my friends and say "Man, you have GOT to check out this CD!!!".. I own THREE COPIES of each album: one to listen to, one to loan out, and one in case anything happens to the other two. No fooling. And I'm not the kind of guy who also washes his hands 75 times an hour. These albums are just that good.

A&B Sound Online is a good place to order this, and lots of other undeservedly obscure Canadian material that is virtually impossible to obtain in the states through other means. (see below) As it is, with the exchange rates, even after shipping, these albums are cheaper to buy than the Lawrence Welk's Greatest Hits disc in the bargain bin, and the information they contain is among the finest musical data obtainable by mankind.

He's the man! And he's got a whole bunch of Jeff's favorite Canadian artists onboard: Bruce Cockburn, Amos Garrett, David Wilcox, Melanie Doane and Stephen Fearing, among others...

The album is all acoustic, and it has a very gentle mood throughout. Could almost pass for a kid's record, but the songs are heavy duty.

Small Change by Tom Waits

It's hard to go wrong with Tom Waits. I've got most of his albums and I love them all. "Small Change" is my favorite, (with about 8 very close runners up). His voice is beginning to gravel over, but the songs and the arrangments are at their sumptuous peak. One track features an unforgettable vocal/drums duet with jazz legend Shelly Manne. Lew Tabackin lays down some absolutely gorgeous tenor sax fills on the rest of the album. It's a masterpiece, and a good choice if you must own only one Tom Waits album.

 Extremely Cool by Chuck E. Weiss

Chuck E. Weiss is an old friend of Tom Waits, and that gives you an idea of what you might begin to expect on this disk. A distinguished veteran of the LA blues scene, this is Chuck's first solo record in 18 years, and it's worth the wait. It has the same hip but seedy edge we know & love in Waits, but Weiss has a stronger Delta Blues influence, and a sensibility all his own.

This album performs as promised; the title pretty well sums it up.

What a coincidence! My favorite drummer, my favorite keyboardist and my favorite bass player all just happen to be in the same band. Billy Martin can groove and swing and make a drum kit speak like no one else. John Medeski is truly evil on the piano and the Hammond organ. Chris Wood does it all, from freakey, cosmic arco solos on the upright to dead-on minimal in the pocket funk on electric. These guys are three prodigies doing big damage...

Interestingly, their debut release "Notes from the Underground" is the most virtuossic of all their albums as these young lions exercise their spectacular jazz and 20th century classical chops. It's not just a big show-off, though; their playing and their compositions have real fire and grit, and there are plenty of spots that still make my hair stand on end. Very hot stuff.

The first album is all acoustic, but on subsequent releases, the band gradually evolves towards a more funky electric sound. "It's a Jungle In Here" and "Friday Afternoon in the Universe" begin to feature the Hammond organ, Wurlitzer and Clavinet and the trio gets into a more urban "hip" vibe.

On "Shack-man", Chris Wood finally breaks out on electric bass and their sound really starts to melt down. This disk was recorded at an isolated shack in Hawaii (hence the title) and it's just full of startling ideas. The remote location seems to inspire a more primal, organic feel.

Their latest release, "Combustication" delves into hip-hop, with the addition of a DJ. One thing is for sure: you can't accuse these guys of standing still. This is one of a select few groups where I make it a policy to: "buy new record first, ask questions later".

MMW (see above) is the backup band, and they are a superb vehicle for Scofield's playful and infectuous sonic creations..A must for any MMW nut (who probably doesn't need me to tell them that this record exists). Very approachable and fun, overall.