The trio inked a deal with Def Jam (ironically, right around the same time The Beasties defected to Capitol…coincedence, I think not. Add DJ Richie Rich to the mix and 3rd Bass was born. Serch, who at this time was already performing solo on the NY club scene. Back in 87′ Sam Sever (who would be responsible for the bulk of the production on The Cactus Album) convinced then Columbia University english major Pete Nice (who also hosted a hip-hop radio show at the University) to start rhyming with M.C. Peter “Nice” Nash and Micheal “Serch” Berrin (whose personalities were completely opposite), who were born and bred in Brooklyn and Queens respectively, were two kids who took to the happenings of their environment, which happen to included hip-hop. Unlike the Beastie Boys, 3rd Bass weren’t former rockers turned clowns on the mic (although legend has it that Serch attempted to join up with the Beastie after signing to Def Jam), and unlike Mr. Van Winkle they weren’t posers pretending to be something they were not. Serch and Prime Minister Pete Nice, are caucasian. Their first single “Steppin’ To The AM”, was in heavy rotation on the video shows, so I proceeded to cohoarse my mom into buying it for me (even though they didn’t condone secular music in the house…I’m a PK), making The Cactus Album my first ever musical purchase (followed by K-Solo’s Times Up and BDP’s Edutaiment a few months later)…or my mama’s first ever musical purchase for me.įor those who don’t know (or can’t tell by the cover art posted above) the emcees of 3rd Bass, M.C. It was all about the cassette tape, son). On this particular visit I stumbled across 3rd Bass’ The Cactus Album (the compact disc was labeled The Cactus Ceedee, but it 89′ only a select few owned cds. Each Target visit for me consisted of a stop by the electronic section to check out the new music releases. Around the same time I begin receiving my first dosages of hip-hop in the form of music videos.
#CACTUS ALBUM THANKS TO FULL#
Cactus proves itself cohesive CD full of unpretentious, adventurous, improvised beauty.I was a pre-teen in 1989, and I can remember my mom would take my twin sister and I to Target with her for frequent household need runs, because in a house of 7 someone was always using the last bit of toilet paper without letting her know they used the last roll. His melodic intro to "Money" is a divinely masterful ninety seconds, leading into Shipp's discombobulation of notes that gels into a compelling, light-stepping beauty.Įverything meshed on this set. Kapplike Billy Mintz and the late Paul Motianis a rare drum kit poet. Shipp's left hands plays walking bass to Kapp's bright cymbal splashes. His normal percussive approach is leaner, crisper, as Kapp lays down a tight weave of textures.
He seems to search, discover, then explore new tangents. Shipp leaves more space than he normally does.
#CACTUS ALBUM THANKS TO FREE#
Kapp has available recordings with his Fine Wine Trio, a collaboration with free jazz saxophonist Noah Howard, and his 2015 offering, Cilia Sin Embargo (Self Produced).Ĭactus opens with the eight and half minute "Overture," a frenetic improvisation full of angles, and a momentum that waxes and wanes. His Wikipedia page list five releases in 2015, and they probably missed a couple. He rat-ta-tats to make you break into a dance step, and sometimes he stomps, and he may be the most simpatico band mate Shipp has ever worked with. Kapp, for his part, rumbles and rolls, he whispers and shuffles. Shipp, the better-known half of the team, plays with a vehemence that parallels his public personaa prickly, chip-on-the-shoulder, in-your-face approach, a sort of Randy Weston meets Cecil Taylor to and rub elbows with Bud Powellif Powell had played with serious attitude. But he gets around, and on a return to New York he joined pianist Matthew Shipp to record a terrific set of duo improvisations called Cactus. Drummer Bobby Kapp, free jazz spirit in New York in the mid-sixties, relocated to Mexico City, to the Artists' colony San Miguel de Allede.
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