Let’s not belabor the point: Pearls and Brass are unabashedly the product of past generations of Delta and South Side bluesmen, Nuggets era Anglo-American psych rockers, and the pantheon of classic rock icons. There’s nothing particularly weird or peculiar about them and there’s no self-conscious gimmick either. This isn’t to suggest that Huth’s head should appear on the heavy metal totem pole with Iommi, Page and Clapton, but when it comes to classic rock’s minor histories, the devil is in the details, and there’s something worthwhile in that lineage. You could always ask Boogie Witch, or you might just see for yourself.
Of Danish and Congolese decent, John Tchicai (b. 1936) is best known for his contribution to John Coltrane’s 1965 new jazz masterpiece, “Ascension.” He co-founded the New York Contemporary Five with Archie Shepp and Don Cherry as well at the New York Art Quartet with Milford Graves and Roswell Rudd. Tchicai recorded with Albert Ayler (New York Eye and Ear Control), the Jazz Composers Guild, and John Lennon (Life With the Lions). And, following three years as a central figure in New York’s avant garde, Tchicai relocated to Denmark in 1966 and founded a large workshop ensemble called Cadentia Nova Danica, which he led until 1971. Shortly thereafter, he cut back on performing to concentrate on teaching. In 1977, he returned to the studio, leading a fairly steady series of recording dates into the ’80s, when he switched to tenor sax and joined Pierre Dorge’s New Jungle Orchestra. In 1990, Tchicai received a lifetime grant for jazz performance from the Danish Ministry of Culture; and the following year he relocated to California’s Bay Area, where he and his keyboardist wife Margriet founded John Tchicai & the Archetypes and the John Tchicai Unit, which both recorded during the ’90s.
Punishment, then, will tend to become the most hidden part of the penal process. This has several consequences: it leaves the domain of more or less everyday perception and enters that of abstract consciousness; its effectiveness is seen as resulting from its inevitability, not from its visible intensity; it is the certainty of being punished and not the horrifying spectacle of public punishment that must discourage crime; the exemplary mechanics of punishment changes its mechanisms. As a result, justice no longer takes public responsibility for the violence that is bound up with its practice.