By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
Such provocations might sound hollow coming from most people, but not for Big Mike, who's made some of the most consistently adventurous music heard in these parts this decade. Aside from Phantasmorgasm, which ripped up the club scene for several exciting years, he's fronted Cactus Marco and Acoustifuxx and has promoted other intriguing aggregations via his N.O.A. label. He's been relatively quiet of late; his most public appearances have been with Space Is the Place, a loose collective of experimentalists who appear regularly as part of Seven South's Wednesday music series. But behind the scenes, Big Mike has been cooking up his most ambitious scheme yet--a 150-song opus that he plans to present on seven concurrently released CDs.
Although Phantasmorgasm is the name under which these discs will be issued, the personnel will vary from platter to platter. Among the contributors, who will appear in different configurations from track to track, are multi-instrumentalists Tom Sublett and Tim Edwards (Windowpane, Trio Fungus), Bob Tiernan (Windowpane, Cactus Marco) and Johnny Kattt (Acoustifuxx, Filty McNasty); drummers Kevin Smith (a heavyweight on the Denver jazz scene), Ravi (Acoustifuxx, Filty McNasty), Matt Homan (Trio Fungus, Book of Runes) and Kenny Ortiz (Phantasmorgasm, D-Town Brown and Tribhanga, whose disc was reviewed in this column last week); saxophonist Brett Sexton (Trio Fungus, Psychodelic Zombiez); and vocalists Johnny O (Rhythmic Insurrection and Loudmouth, another Big Mike combo) and Jahnavi DeFrancis (Tribhanga). The last of the seven long-players will compile older songs by Phantasmorgasm, Cactus Marco and Acoustifuxx; the rest will be loaded with all new material.
According to Big Mike, he came up with his latest concept because "I was tired of trying to make regular albums--by which I mean the art form that the Beatles perfected. So I decided to try a new format--one that's definitely influenced by the jazz movements of the early Seventies and by electronic music, which I've been into for a long time. And I wanted to play with all of the cats in town who I really respect and admire."
Since Big Mike is still in the process of assembling this massive piece, the only clue as to what it will sound like is 1 2 3 7 12 25, a cassette that contains the music from the initial volume. (It's available for $3 from C.O.M. Records, P.O. Box 12521, Denver 80212.) According to Big Mike, the tape is not "indicative of the project as a whole. It's only a beginning point." But what's clear from the recording is that it's an attempt to stretch into new areas rather than simply revisit previous Phantasmorgasm styles. For the most part, Big Mike (the only musician on the cassette) eschews vocals in favor of samples from sources such as Pulp Fiction and instrumental passages that borrow from dub, funk, electronica and rock. Some pieces are more successful than others, but the album as a whole deserves praise as a subtle, moody collection that evades categorization as a matter of course.
The thus-far unreleased material will feature "as much variation as you can possibly imagine," Big Mike says. "There's no emphasis on a particular genre. We'll be whipping it all out. I like to describe it as 'pure music,' which is what I've always been about. And I think it's wonderful that so many talented people are helping me."
At this point, Big Mike has not announced a release date for the package, but those interested in getting a taste of what's to come will be able to do so at the first Phantasmorgasm gigs in several years. On Wednesday, April 16, at Seven South, the group will consist of Big Mike, Tiernan, Sexton, Sublett and Ortiz; on Wednesday, May 21, at Cricket on the Hill, Big Mike will be joined by Sexton, Homan and Kattt; and on Wednesday, June 4, he'll be in the company of Smith, Edwards and vibist Rick Winegarden. "It's going to be hard for people to get a handle on this much eclecticism," Big Mike concedes, "but that's the point of the project. This might sound rather lofty, but we're trying to document that at the end of the twentieth century, there were still people who cared about music as art. There are very few innovations going on now; it's a very bleak period. So we're trying to show people in the future that some musicians wanted to do more. We're trying to create a new aesthetic."
Flash back, if you will, to our March 14, 1996, issue, when we profiled singer-songwriter Rebecca Blasband in an article entitled "The Unreal World." At the time, Blasband, who had been living in Denver about a year, had a deal with Warner-Chappell publishing, which had financed a five-song demo called The Rebecca Blasband. But what fame she had at that point was based almost entirely upon her status as a cast member during the inaugural season of MTV's The Real World. As she told it, she'd been trying to overcome her reputation as "bitchy" Becky for years--and she hoped a record deal would be the key to doing so.