Connection

Marc Ribot is a guitar hero. But one who’s name probably doesn’t come to mind as easily as many of his contemporaries. Maybe that’s because, while his solo discography is sensational, most of his work has been as sideman for some of the biggest names in the industry – and on some of their biggest and best albums. 

Ribot has worked with Elvis Costello (Spike, Mighty Like a Rose and more), Tom Waits (Mule Variations, Franks Wild Years and Rain Dogs… HE WORKED ON RAIN DOGS!), Laurie Anderson, T Bone Burnett, Norah Jones (The Fall), Diana Krall, Beth Orton and over 30 albums with the sax legend John Zorn. And this list barely scratches the surface. I first came across him when his work for Tom Waits, where his idiosyncratic style perfectly complemented Waits’ idiosyncratic vocals. 

It was this partnership that launched Ribot, but also re-launched Waits, in what was a radical departure from his previous boozy bar-room pianist persona into something altogether more angular and quite frankly weirder, in a good way. 

But Ribot’s solo work is also exceptional, in particular his excursions into avant-garde takes on Cuban guitar music, which with hindsight can be heard in many of his Waits performances, have a listen to the sensational playing on ‘Hoist The Flag’ from Real Gone for a rock solid example. 

Ribot claims his playing is limited by the fact he learned to play the guitar right-handed while being left handed – he realised early on, he claims, that he was never going to be George Benson. But, to our ears this doesn’t limit him, far from it, instead you hear him battling against this barrier, pushing the limits of what he can physically play while at the same time composing some of the finest guitar licks around. 

Ribot is currently a member of a couple of bands, of which Ceramic Dog is the most prolific. A super-talented trio that boasts Ches Smith on drums and Shahzad Ismaily on bass, both of whom are absolute masters of their art. 

They play a heady mix of new wave/punk/jazz, and are capable of creating one hell of a racket in the process. (Search out their sensational KEXP session on YouTube for an insight into the band live.)

Connection is the trio’s fifth album proper, although there have been some digital only releases as well, and it is an absolute belter. It’s buzzing with energy, and chock full of virtuoso performances, which are often slightly disguised in a haze of fuzz and feedback. 

The opening salvo of the title track followed by the Capitalism-bashing ‘Subsidiary’ sets the tone for the rest of side one: grungy, mid-paced and completely engrossing. It feels like it could explode at any moment, but Ceramic Dog keep you tantalisingly on the edge. 

And while Ribot isn’t known for his lyric writing, or singing, on Connection he shows he can turn his hand for some catchy couplets. ‘Soldiers in the Army of Love’ starts off quoting the Declaration of Independence before repeatedly announcing that Cermaic Dog are the Army of Love – and that’s an army we would happily sign up to.

The second side is slightly more contemplative, starting on the vinyl with a shortened version of possibly the most avant-garde piece on the album, ‘Swan’; for the full 10 minute take you’ll need to stream or download. It is worth it, for the exceptional guitar playing from Ribot and the wonderful cello from guest Peter Sachon. 

‘No Name’ follows in a similar manner before the album reverts to its punkier side with the shouty ‘Heart Attack’ before closing with the sensational ‘That’s Entertainment’.

Okay, so Connection doesn’t add much to the world of the avant-garde like much of Ribot’s other work, and it steers away from a lot of Ceramic Dog’s jazzier leanings, but in many ways it’s all the better for that. This is a full-on alternative rock album, and we love it for that very reason!

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