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They certainly push each other, but they never overreach (one particularly dissonant passage in the aptly-titled “Snow Storm Coming” could be a mess in shakier hands, but here it feels like humans controlling weather). Kapp and Shipp move from calm to urgent to portentous in single turns of musical phrase, bringing a wide range of moods completely and assuredly within their grasp. That last example demonstrates the most compelling aspect of Cactus: the duo’s precise tonal control. In other spots, the pair’s exchanged pulses shift into less orderly flights, such as when Shipp’s hard-beat notes dissolve into Kapp’s cymbal runs on the gripping “Before.” The Cactus Cee/D (The Cactus Album) er 3rd Bass sitt første soloalbum. Passages in the rolling “Money” and the meditative “After” find Shipp tapping chords between Kapp’s snare strikes in an impromptu call-and-response. You can help our automatic cover photo selection by reporting an unsuitable photo. There has always been a heavy rhythmic bent to the pianist’s music, but here he’s so inspired by Kapp’s versatile work that at times it sounds like he wants to be a second drummer. The responses that Kapp draws out of Shipp are some of the latter’s most percussive playing on record. The pair lock in immediately and never lose their keen eye-to-eye focus, engaging in such thorough dialogue that it’s hard to find a moment where one isn’t responding to the other. Given that level of unfamiliarity, their quick reaction time and thoughtful interplay are impressive. Yet* Cactus* represents only the second time Kapp and Shipp have recorded together-following 2015’s Kapp-led quartet album * Themes 4 Transmutation-*and they had never played as a duo until they pushed the record button on this fully-improvised session.
#Cactus album covers free
Kapp came up in the middle of the ’60s free jazz groundswell, playing with saxophone legends Pharoah Sanders, Marion Brown, and Noah Howard. Shipp, meanwhile, has been a mainstay in New York’s improvising scene since the mid-’80s, best known for his work alongside bassist William Parker in saxophonist David S. The quality level matches the participants’ pedigrees. Ultimately they agreed on Tightrope and chose the concept that I brought to final for the cover.On Cactus, drummer Bobby Kapp and pianist Matthew Shipp take advantage of the possibilities inherent in their setup, persistently passing ideas back and forth in a wordless conversation.
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So they asked me to come up with concepts for both. Yes, the band was split on which song to use as the title track and name of the album, Tightrope or Primitive Touch. The alternate art to the Cactus album at the Behance site But getting to work with such a talented, iconic band, on a double album, for that I’m very lucky and grateful. I always liked the classic heavy rock style of the late sixties and seventies, so knew about Cactus prior to getting involved with them creatively. Hopefully, that comes across to fans.įamiliar with the band’s music For a bunch of proto-metal stoner pioneers, Cactus never got their due, even as a supergroup. My goal was to reflect the band creatively, in a way that is true to their voice and respectful of their talent and scope, to be both contemporary and historic. I was inspired to explore the challenges we face in the current environmental and political climate. It is a very special thing to collect stamps, and we are happy that we for more than 50 years have served collectors worldwide with stamps, coins and accessories.The first stamp in the world - the One Penny Black - was issued in Great Britain in 1840. I wanted to honor the band’s legacy, and so I felt there should be cactuses in the artwork. Cactus is a phenomenal band, and collaborating with them on this particular album cover was amazing for me. I probably worked with the Vanilla Fudge on cd packaging and show promos first, and later on various projects for Carmine Appice, Jimmy Kunes, and eventually Cactus. Rolling Stones original list of the 500 Greatest Albums of All Time was originally published in 2003 (with a.
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I began designing CDs, gig cards, and T-shirts for Randy Pratt (the harpist for Cactus) some years ago, and for bands produced on his label Hyperspace Records. In the past Sue has been credited on Vanilla Fudge’s 2001 album, as well as The Lizard’s 2015 album Reptilicus Maximus – Sue was responsible for the titling and interior of these 2 album designs (and Lizards is cool news to me, as I interviewed Randy Pratt on the band, and now of Cactus many years ago about The Lizards, and I was not aware of this this album). I’d like to add more of these stories in the future, but for a start – Sue Candia gives some feedback and the details behind the album art for the new Cactus album Tightrope. I’m always interested in album art and the stories that go with them.