The
New Ammo version of
Karl Denson's Tiny Universe consists of a four-horn front line: his sax and flute, trumpeter
Chris Littlefield, trombonist
Andy Geib, and baritone saxophonist
Daniel De La Cruz. The lineup also includes
David Veith on B-3 and Rhodes piano,
D.J. Williams on guitar, and drummer
John Staten. This set is tight, yet all over the place. Three tunes are thoroughly re-visioned, funked-up arrangements of cues from exploitation films. Opener "Grenadiers" comes from
Bill Loose's score for
Russ Meyer's
Cherry, Harry & Raquel. It's a cut-time groover with knotty interlocking rhythms, a grinding, dirty-ass guitar vamp, punchy horns, and a wailing sax solo by
Denson. "The Duel" by
Lenny Stack from the 1970 biker flick C.C. and Company has an ugly bassline, surfadelic guitar, and a B-3 worthy of
Steppenwolf's "Sookie Sookie." A massive working of
Bo Diddley's "Who Do You Love" riff commences "My Baby." The song combines barroom blues, grimy, rocking slide guitar, and Stax-style horns. It also features a
Denson vocal duet with
the Gramblers'
Nicki Bluhm. The
White Stripes' "Seven Nation Army" is a stomper here, a showcase for
Denson's strutting flute, with frequent collaborator
Robert Walter guesting to deliver a killer Rhodes break. A reading of
the Beastie Boys' "Sure Shot" weds spunky flute, upright bass, soul-jazz guitar, B-3, and a truckload of rim shots. The title cut, "Everybody Knows That," and "Cheerleader" are old-school
KDTU slammers; their snare-kick drum imprint is right up front with the horns.
Chris Stillwell's excellent "Malgorium" could just as easily have been an
Isaac Hayes-charted film cue. Its labyrinthine structure contains a beautiful organ solo by
Veith before it extends as a jazz-funk workout. Closer "Odysseus" is an older jam that highlights the band's formidable jazz chops. Commencing with a slow yet knotty head, it gradually develops into a simmering jazz-funk groove (evoking the charts of
Johnny Pate). Old friend
Mike Dillon contributes two brilliant vibes solos to this track featuring floating Rhodes, choppy horns, bubbling basslines, angular melodic changes in several sections (think
Frank Zappa), and a screaming guitar break by
Williams that ratchets up the intensity before
Denson's horn roars it out.
KDTU's unmistakable dance band roots are readily apparent on
New Ammo, but it's easily their most musically adventurous album.