#Detroit ECM

[dustedmagazine]

Dust, Volume 10, Number 7

Obsessed with Congo Funk in this month's dust

Without getting too deep into American electoral politics, let’s just say that we’ve been distracted lately.  We’ve been mired in the slough of despair, frantic in our bargaining with god and lately, a feeling fresh breeze of optimism—it’s been so long, we hardly recognized it.  But despite all that, the records keep coming, and we do our best to deal with them, not always with a fulsome 300-400 word review, but sometimes briefly, as here, in another edition of Dust.  This month, we cover the run of it, from fictional characters that somehow participate in bands, to guitarists on synth holiday to vintage Swedish death metal reissued and more.  Participants this time out include Jennifer Kelly, Byron Hayes, Bill Meyer, Jonathan Shaw, Christian Carey, Andrew Forell, Roz Milner and Ian Mathers. 

Apifera — Keep the Outside Open (Stones Throw)

Four Israeli jazzmen take a jaunt through psychedelic rock and prog, incorporating trippy vocals and squalling synth runs into a space-age fusion.  The musicians— Nitai Hershkovits on keyboards, the beatmaker (and evident link to Stones Throw) Yuvi Havkin, drummer Amir Bresler and guitarist Yonatan Albalak—have spent their careers crossing jazz with funk, hip hop and rock.   Here they push it even further with vocal tracks that hardly sound like jazz at all.  Trippy “Iris Is Neil,” for instance, delivers the title phrase in a keening vocal chant, as explosions of percussion go off like firecrackers on a string.  Squiggles of synth, arcs of electric guitar reach for the epic, but in a manner more like Yes or ELP than Return to Forever.  “Lucky Zoe” delves further into psychedelic pop, its wavery keyboards framing fanciful whimsies a la “Lucy in the Sky.”  “Theodor Marmalade” thumps a funky beat behind flourishes of keys and vocal narratives about desert fauna.  “Don’t you want to see the floating lights?” the cut inquires, and yes, I can just about make out strange, glowing objects in the sky. The instrumental pieces have a more conventionally jazzy feel; “I Love ECM” makes it case with light-fingered syncopations on rims and cymbals, liquid loops of bass and ice-chilled runs of electric keyboard.  “Sera Sam,” at the end, brings on the trumpeter Avishai Cohen for a lyrical turn.   

Jennifer Kelly

Majesty Crush — Butterflies Don’t Go Away

(Numero Group)

Butterflies Don't Go Away by Majesty Crush

A double LP or digital download from Detroit’s own Majesty Crush, the motor city’s answer to the sounds coming out on 4AD. With dreamy vocals by David Stroughter about being an obsessive fan or about bad relationships and a rhythm section kicking up a swirl of noise around him, Majesty Crush brings to mind about a dozen English bands without feeling particularly in debt to any specific group. Occasionally the guitar makes a really cool, almost crunchy sound, but mostly the music moves in the fog, blanketing the vocals in layers of distortion. They lack the fey lyricism of the Cocteau Twins or the dreamy harmonies of Lush but guitarist Michel Segal holds his own against Kevin Shields’s sheets of sound. Meanwhile, they invoke David Hinckley on “No. 1 Fan,” wake up with a bottle and a cigar in hand on “Brand” and dip into ambient spaces on three small interludes. The first half is made of their lone album Love 15, while sides three and four contain an early EP and singles, putting pretty much their entire catalog into one handy set. These Detroit guys seem unjustly forgotten, but thankfully Numero’s made their music easy to find.

Roz Milner

Dennis Callaci & Heimito Künst — First Light (Pass Without Trace)

Heimito Künst is one of many characters in Chilean novelist Roberto Bolaño’s The Savage Detectives, a tangled multi-narrative epic. The enigmatic Italian musician who produced the sounds underpinning First Light has adopted Heimito Künst as his pseudonym, likely in reference to the knotty soundscapes he builds from organs, synths and field recordings. On paper, Dennis Callaci’s lyrics and vocals seem like an odd pairing for Künst’s oblique audio collages. Callaci is half of the long-running lo-fi pop project Refrigerator and has helmed the Shrimper label for over three decades. His signature mid-range nasal utterances, more spoken than sung, populate the extraterrestrial ecosystems of Künst like strange seedlings peeping up from beneath loamy soil. First Light serves as a bridge between the mysterious and the familiar, another worthy entry in Callaci’s discography and a port of entry into an unknown artist’s body of work. 

Bryon Hayes

Buck Curran — The Long Distance (Eiderdown/Obsolete)

Buck Curran is a guitar devotee. He’s a fluent player, a custodian of historic instruments, a chronicler of esteemed players and a compiler of albums that pay tribute to others. But sometimes a guy just needs a change of pace; enter The Long Distance. Mostly competed in a single night, it’s Curran’s holiday from the guitar. Instead, he plays analog synthesizer, layering sweeping tones and helicopter-rotor cadences into something rather like a lost Tangerine Dream album. Curran explains in the album notes that each piece is connected to a memory of a person or place, which may explain the melodies’ intimations of yearning and melancholy. But if you’re not Curran, they might evoke other associations; this music could easily be repurposed for film soundtracks.

Bill Meyer

Rhodri Davies — Telyn Wrachïod (Amgen)

Back in the mid-20th century, kids motorized their bikes with clothes pins and playing cards. The customization might not have yielded much additional propulsion, but the sound was cool. It turns out that they were simply following in the footsteps of 16th century Welsh harpists, who attached brays (slips of wood) to their strings to get a loud, buzzing sound. Rhodri Davies has explored the harp’s options in all manner of settings — Fluxus happenings, minimalist compositions, rock bands, free improv ensembles, the list goes on. Recently he’s commissioned speculative recreations of instruments from centuries ago, which he then uses to play the sort of short, wheels-within-wheels pieces that he formerly played with instruments amplified to a Konono No. 1-level of distortion.  On Telyn Wrachïod he turns to the bray harp, which sounds rather like a cross between a banjo and a sitar. Each of its 12 tracks is spiky but so engrossing that you might find yourself hitting repeat a few times before you move on to the next one.

Bill Meyer

Desultory — Darkness Falls (The Early Years) (Darkness Shall Rise)

The repackaging and re-release of underground metal’s extensive archive of hyper-obscure demos and records continues apace. Darkness Falls (The Early Years) collects three demos from Swedish death metal outfit Desultory, originally independently issued on cassettes between 1990 and 1992. The record’s principal interest is its documentation of the sonic flexibility that informed the term “death metal” in the early 1990s; there’s just as much lightning thrash in these songs as there is moldering morbidity, especially the four engaging tracks on the band’s first demo, From Beyond (1990). The title track is especially pleasurable, in its sprinting, bludgeoning fashion — and this reviewer notes the added benefit of the title’s reference to an excellent H. P. Lovecraft story (is that you, Cthulhu?). Swedeath completists take heed. For the rest of us, it’s a fun release, and of some historical interest. Its relative necessity is open to debate — but hey, we didn’t really need that reissue version of Pig Destroyer’s Painter of Dead Girls on “black ice with metallic silver glitter” vinyl, either. Maybe Darkness Shall Rise should get some points for only releasing four different product versions of Darkness Falls….

Jonathan Shaw

Devouring the Guilt — Not To Want To Say (Kettle Hole)

Devouring The Guilt is a Chicago-associated (meaning two members live there and one moved away but remains connected) improvising trio. The line-up is pretty classic — Gerrit Hatcher on tenor sax, Eli Namay on bass, Bill Harris on drums. And so are the trio’s roots. Hatcher summons a burly tone, steers mostly clear of extended techniques, and gives occasional nods to free jazz heroes like Archie Shepp, Frank Wright and Frank Lowe. These familiar parameters establish a framework to display their collective originality, which lies in the personal vernacular they’ve fashioned. Namay is an alternately pithy and seething presence, plucking spare, structure-defining figures or bowing a maelstrom of woody sound. Harris pushes back against expectations that the drums should push the music forward by punctuating his clearly articulated attack with lots of negative space. Hatcher situates lyricism in long, understated tones and vigorously masticated phases, but also navigates unpredictably through the tight corners and sudden gaps that the other two set up.

Bill Meyer

Carol Genetti / Peter Maunu — Gleaners (Amalgam)

No matter how you approach it, Gleaners will stretch your mind. Just what are Carol Genetti (voice, electronics) and Peter Maunu (guitar, violin, mandolin) gleaning? Not other people’s music, that’s for sure. Maybe the languages of long-extinct species, confidences exchanged between dusty appliances that come to life after the staff leaves the thrift shop, ideas about what instruments might sound like if you see them in pictures. Even when Maunu resorts to rock-ish fuzztones or Genetti exhales an unspooling coo, their co-creations are resolutely sui generis.  Their partnership has been honed through years of regular performance, often with other Chicago-based musicians, which likely explains the brisk confidence that this resolutely abstract music exudes. Genetti is a ceramic artist as well as a musician, and the physical manifestation of this album comes in two forms. She made ten one-of-a-kind clay cases that you can mount on a wall; the regular CDs come in a folio adorned with close-ups of the art edition.

Bill Meyer

Dave Douglas — GIFTS (Greenleaf Music)

GIFTS by Dave Douglas

With sizzling guitar lines and a frontline horn duo of Douglas and James Brandon Lewis, you’d think it would be easy for this to be a mere blowing session. But it’s not. The music is frequently introspective and has a very ECM kind of ambience: it has this wide-angle sonic clarity where each instrument has room to breathe and let their notes slowly linger. The suite of Strayhorn songs in the middle doesn’t feel tired, either. Rafiq Bhatia’s chugging guitar keeps “Take the A Train” moving while Douglas and Lewis move in sync for the theme. When they stretch out, they’re sometimes playing against each other but always seem like they’re on the same page. Meanwhile Bhatia’s playing draws on Bill Frisell, making up for the lack of a low end with well-placed chords and sonic textures. These four make the music their own and it’s one of the year's most rewarding jazz records. 

Roz Milner

Samara Lubelski & Marcia Bassett — Indexical/Rhizome (Relative Pitch)

Samara Lubelski and Marcia Bassett are both well-established members of the U.S. scene that engendered the moniker “new weird America” back in the early aughts. Both have CVs that stretch on for miles. Lubelski is best known as a star in the MV&EE solar system, while Bassett churns out murkier sound pools in a variety of projects, such as Double Leopards and Hototogisu. The pair have a long-standing partnership unfurling phosphorescent drone webs through guitar and violin. This is their eighth recording, and it presents two extended string seances that coax electric spirit whisps from unseen worlds. “Indexical” is the lengthier of the pair and features zoned out but controlled guitar howl from Bassett alongside Lubelski’s rapid bowing. The undulations intertwine to become a radiant lattice of sound. Alien timbres infect “Rhizome,” which sways between a noise-drone wall of sound and hushed electronic whispers. Both are live recordings, showing off the raw magic that this pair of string sirens can conjure.

Bryon Hayes

Joe McPhee With Ken Vandermark — Musings Of A Bahamian Son (Corbett Vs. Dempsey)

Joe McPhee’s been toting folders full of poems and brief musings to gigs for years, but in recent years they’ve assumed an increasingly prominent place in his performances. Now, he’s finally put 28 of them on record, punctuated with nine short soprano sax/clarinet interludes that he improvised with Ken Vandermark. Oppression gets defied, history acknowledged, but most of all, love gets its due. McPhee muses about folks from the neighborhood, jazz heroes that inspired him, old friends now gone, and the balm and galvanization imparted by music itself. Abstract but tender, the interludes amplify this sentiment, showing by example how much appreciation for life and fellowship can be invested in a few tones.

Bill Meyer

Kate Nash — 9 Sad Symphonies (Kill Rock Stars)

On 9 Sad Symphonies, Kate Nash leans into her musical theater background, with skillfully crafted arrangements that incorporate classical orchestrations reminiscent of the film musicals from the 1930s-1950s.  As on most of her albums, she tweaks her sound and musical partners, here working with producer Frederik Thaae. There is a sauciness to her lyrics, which even go so far as describing lunch breaks in toilets. All is not a lark. Nash seeks to exorcize personal demons on “Vampyre” and “My Bile '' is a bracing assessment of a broken relationship. 9 Sad Symphonies may have a bucolic surface, but the singer-songwriter ventures down dark pathways where stars of the Silver Screen would have likely feared to go.

Christian Carey

Occulta Veritas — Irreducible Fear of the Sublime (I, Voidhanger)

Occulta Veritas plays an avant-garde variety of black metal, long on complexity and idiosyncratic compositional sensibilities. It’s abrasive and disorienting, and not especially fun to listen to — which yes, that’s the point, but there’s a huge amount of this sort of thing circulating through the metal underground at any given point, and deliberately distancing music from listeners’ parameters for pleasure can be a tough prospect in that oversaturated context. For this reviewer, the record’s engagement with the theoretical concepts of Jacques Lacan (big-deal psychoanalyst, post-structural Daddy and important player in France’s academic politics of the mid-20th century) helps Irreducible Fear of the Sublime stand out. It’s pretty great that one of the songs is called “Metonimia,” since Lacan’s projection of metonymy along a diachronic axis of spatio-temporal relations fits the music’s tortured snarls and chaotic, off-kilter arrangements. The utterances want to go somewhere, but the structures those utterances are trapped in make meaningful progress a near impossibility. It would be even better to have a lyric sheet, to get more than just the tantalizing engagements with Lacan provided in song titles (“The Mirror Stage,” “Bound to Incompleteness” and so on). There’s an overheated quality to the record that’s additionally compelling: This is your brain; this is your brain on Lacan. But it would be useful to know what specific ideas accompany specific sounds and turns in the music’s syntax. Or is it all just sound and fury, signifying nothing?

Jonathan Shaw

J. Pavone String Ensemble

Reverse Bloom by Jessica Pavone

The current edition of Jessia Pavone’s String Ensemble is reduced to essentials. There are just three players including Pavone, who plays viola, Aimée Niemann on violin, and Abby Swidler switching between those two instruments. The language is likewise paired down on Reverse Bloom. The first two pieces (of four) emphasize long tones that hiss and sigh at a deliberate pace, evoking an uneasy state. “Obstructed Current” pushes against the prevailing vibe with jolting, energetic phrases that move joltingly out of synch. The closing piece, “Embers Slumber,” likewise explores contrasting elements, which resolve by settling into a deliberate, belly-breathing rhythm. The album charts a course towards a grounded state that’s not so much a happy ending as a sonic enactment of the honest word that gets you through.

Bill Meyer

Keith Rowe / Gerard Lebik — Dry Mountain (Inexhaustible Editions)

Dry Mountain by Keith Rowe / Gerard Lebik

Despite having his name on the spine, Keith Rowe did not play on this record. However, he did originate the process of sound (re)imagining that it presents, and his cover image of a wiggling digit raises the question — how deep does a fingerprint go? The score of Dry Mountain originated from the imprint Rowe’s gear left on a sheet of paper. Rowe and Gerard Lebik interpreted that score and then handed a recording of their performance to three visual artists, who created their own scores based on what they heard. These scores were then played by the group of electronics, string, and percussion players heard on this album while listeners drew responses to the music, which they then handed to the musicians, who played them on the spot. The further you get from the first piece heard, the further the music gets from Rowe’s sound world; in a reversal of Alvin Lucier’s I Am Sitting In A Room, the music gets segmented and defined.

Bill Meyer

D. Sablu — No True Silence  (Yes We Cannibal)

No True Silence by D.SABLU

D. Sablu is a New Orleans punk lifer, late of Casual Burns and Feverish, but forced (or inspired or motivated) by COVID to strike out on his own.  No True Silence is Sablu’s first full-length, and it’s a killer, a slaughterhouse frenzy of punk /garage/ hardcore and a little metal, all chopped up with chainsaws and spraying all over the walls.  Indeed, you’ll have to stand well back from the player when you first put the record on, because it leads with “Bomber Stomp,” a two-minute assault of lumbering, heavy punk that sways noticeably as it comes down on the ones and twos.  Sablu lets off a howl near the end that raises the hairs on my neck, because it’s so sulfurous and tortured.  “69 Forever” lights a new wave hook on fire with a blowtorch; it’s catchy as hell but blows you back with sheer volume and aggression.  The brief “World Peace” is pure, adrenalized chaos, drums galloping wildly, guitars flaring, bass buzzing and Sablu screaming “World pee-eeea-eace!” like a banshee.  Fun stuff.  Turn it up.

Jennifer Kelly

Mark Sims — Take Me Faster (Carousel Horse Records, Old 3-C Label Group, Anyway)

Take Me Faster by Mark Sims

Deindustrialization has hollowed out the Midwest’s economy, leaving shuttered factories and empty main streets all across the central American states.  Mark Sims, a bricklayer when he’s not performing, sings with the soft, wry melancholy of a man left behind by tectonic shifts, finding solace in well-turned melodies and plain-spoken turns of phrase.  It was fashionable half a decade ago to interview Ohioans in diners about their economic circumstances; Take Me Faster provides the same sort of snapshot of dislocation and disappearing opportunity.

For instance, in “Hold On To Me,” the narrator is driving long-distance to a job somewhere, trying to find a song on the radio and thinking about home.   “Money comes and goes so quickly/I could work a million hours/and still be broke when I die,” Sims confides, against a radiant lattice of picking. The song is unassuming, and kind of perfect, a distillation of the struggle to stay connected and human in a low-wage high-uncertainty economy.

The songs are simply arranged, a mesh of Sims’ dusky, resonant voice and acoustic guitar, mostly, with a little synth in the background for texture.  And yet, this is more than enough, as on the haunting “I’m Always by Your Side,” where Sims’  voice lifts up through the sadness, fluttering soulfully in the upper registers before drifting back to earth.  These songs don’t pull any tricks or do any somersaults, but they’re satisfying all the same. 

Jennifer Kelly

Jason Stein / Marilyn Crispell / Damon Smith / Adam Shead — Spi-raling Horn (Balance Point Acoustics/Irritable Mystic)

spi-raling horn by Jason Stein, Marilyn Crispell, Damon Smith, Adam Shead

The trio of Shead, Stein, and Smith first convened with the former two’s duo shared a bill with Smith. They recognized in each other a common aesthetic intent, a shared wish to improvise within a particular set of parameters; there’s no predetermined material, but a collective intention not to be confined to jazz. They’ve all listened closely to the great 20th century European free improvisers, and part of what they’ve taken from them is an intent to fashion their own language. There’s no soloing here, although occasionally someone will drop out if that’s what the music requires. And when they invite a fourth musician into the action, they participate as an equal contributor, not a featured guest. Marilyn Crispell’s associations with musicians as disparate as Barry Guy, Anthony Braxton and Joe Lovano reveal her to be an artist similarly concerned with fluent exchange, not ego-boosting display. But she’s also a stern bringer of velocity and complexity on this recording, which is the studio half of a single brief encounter which took place in Chicago in the middle of 2023. Dense assertion, abrasive texture, and bursting co-existence cohere into a seven-part sequence of collaborative invention.

Bill Meyer

SUSS — Birds & Beasts (Northern Spy)

Birds & Beasts by SUSS

Gorgeous hovering tones of pedal steel, guitar (with e bow), keyboards and synths coalesce in these cuts, each a glowing, vibrating meditation on the beauty and fragility of the natural world.  SUSS, from New York City, explores many of the same haunted textures as Chuck Johnson and Pan*American, letting sustained notes linger in shimmering layers of slow-moving sound.  “Overstory” encases picked acoustic notes in a translucent amber of pedal steel arcs and violin, letting the sound grow as slowly—and as enormously—as old growth forest.  “Flight” follows a more pronounced rhythm than other cuts, its steady pulse of strumming beating like wings on a long trip south.  The disc is not all sunshine, however.  “Prey” lurks in ominous buzzes and hums of feedback, building threat into dark-toned dissonance and animal screeches into wails of guitar.  The long closer, “Migration,” pulls taut with anticipation, its beat like a metronome, its melody unfurling in the wheeze of harmonica and the shifting twang of pedal steel.  SUSS often gets tagged as cosmic country, but which country?  Unearthly, luminous and beautiful. 

Jennifer Kelly

Their Divine Nerve — Return of the Lamb (Staalplaat)

The Return of the Lamb by Their Divine Nerve

Dmytro Fedorenko and Jeff Surak have been collaborating for about 20 years now, but this first album as Their Divine Nerve appears to be the first time the self-described “Ukrainian-American noise duo” have collaborated on record at length. But right from the churning, thumping 14+ minute opener “The Infinity Book” here it’s clear that their long association has led to a certain sympatico comfort with each other. Whether on the more overtly aggressive shredding (not guitar riffs, actual shredding) of “Glowing Skulls” or the more pensive, droning likes of “Dignityphobia,” here the pair have arranged a rich, expansive (71 minutes on CD, plus about another half hour in bonus material on digital) feast for anyone looking to add some variety to their noise diet. By the time the CD thunders and shudders to a half with “Civilization Was Never Civilized” the listener may not know anything more about the titular lamb, but it’s clear its return is momentous indeed.

Ian Mathers

Various Artists — Congo Funk: Sound Madness From The Shores Of The Mighty Congo River (Kinshasa/Brazzaville 1969-1982) (Analog Africa)

Congo Funk! - Sound Madness From The Shores Of The Mighty Congo River (Kinshasa/Brazzaville 1969-1982) (Analog Africa No. 38) by Analog Africa

Mobutu Sese Seko was a murderous tyrant, but he changed African music forever when he invited James Brown to play Zaire 74,  the three-day musical festival put on alongside George Forman and Muhammed Ali’s epic Rumble in the Jungle.  American funk transformed an already vibrant musical scene like a chemical catalyst setting off an explosion of electrified, psychedelic soul in Kinshasa and Brazzaville.  Congo Funk! collects 14 incendiary cuts from the 1970s and 1980s — culling from an original haul of over 2000 sounds — not a dud in the bunch and more than a couple of revelations.  M.B.T’s eponymous “M.B.T.’s Sound” is one of the best on this two-disc set, all brassy swagger and intricate polyrhythmic percussion, as is Orchestre National du Congo’s full-throated celebration “Ah Congo!” with its wild call and response, feral sax play and unhinged drumming.  Lolo et L'Orchestre O.K. Jazz’s “Lolo Soulfire,” sets up a Stax-like groove and lives in it, slouching and swaggering like Booker T in a fever.  Fire.

Jennifer Kelly

Ricki Weidenhof — Church (We Be Friends)

Church by Ricki Weidenhof

A member of Pittsburgh avant-collagists Sneeze Awfull, Ricki Weidenhof examines a life of religious ambivalence and search for identity on their solo album Church. Working through a range of styles that illustrate and amplify those themes, Weidenhof produces an emotionally rich and sometimes challenging fractal mosaic. The wonderfully titled suite “Raptured in Formal Violence” contrasts liturgical solemnity and a babel of religious voices with jittering house to capture that mixture of dread and ecstasy the Church so often induces. At the other of the scale “Dreary Field” is an Arthur Russell inspired idyll of acoustic guitar and cello as Weidenhof singsof the past “I finished that game of hide and seek long ago/Only it was still at play/I remember the last place I had hidden.” “Extinction Meditation” begins in a similar vein, the religious and personal entwined with vivid imagery, before a chaos of multi-tracked vocals, distorted beats, and razor strings. A powerful, heartfelt record that deserves a wide audience.

Andrew Forell

Wormed — Omegon (Season of Mist)

OMEGON by Wormed

It’s hard to say anything meaningful about Wormed — pretty much everything about the band is absurd, or at least verging on it. To identify some key elements of the absurdity: the “vocals” of Jose Luis Rey Sanchez (appearing on Omegon, as always, under the appropriately throaty appellation Phlegeton — Sanchez is likely referring to the mythic river, but all I can think of is phlegm…), for whom the unappetizing term “throat fart” might have been coined; the sheer nuttiness of the band’s tech death wankery, which the band has actually moderated a wee bit for Omegon; the fact that Wormed have been at it since 1999, mostly developing a continuous narrative of a fictional cosmos, full of conflict among evil extraterrestrial forces, multiple timelines and a protagonist named Krigshu (some song titles from this record are indicative: “Aetheric Transdimensionalization,” “Gravitational Servo Matrix,” “Virtual Teratogensis��). You figure it out. Beyond the music — more tech than slam, but still seeking some sort of apotheosis of that quality death metal freaks name “brutality” — what’s most engaging about Wormed is the band’s ability to sustain the absurdity and to seem absolute serious about it. Maybe that makes the Spanish band especially well-suited to our times. Or maybe we just haven’t gotten the joke yet.

Jonathan Shaw

[nadieselparts]

Reliable Diesel Parts Sales for Detroit Diesel 12.7L DDEC Engines

For those who rely on dependable performance, the Detroit Diesel 12.7L DDEC engine stands out as a cornerstone of efficiency and power in the diesel industry. If you’re looking to maintain or enhance the functionality of your equipment, finding high-quality diesel parts sales is essential. This guide will explore the importance of sourcing top-notch components and why it matters for your Detroit Diesel 12.7L DDEC engine.

The Importance of Diesel Parts Sales

Every engine needs precise and reliable parts to perform at its best, and diesel engines are no exception. Diesel parts sales play a critical role in ensuring that your engine remains durable and functional. Whether you’re running a commercial fleet or operating heavy machinery, high-grade parts can prevent costly downtime and extend the engine's lifespan.

For the Detroit Diesel 12.7L DDEC engine, selecting parts that meet the manufacturer’s standards is especially crucial. This engine is celebrated for its efficiency, making it a favorite in various industries. However, its high performance relies on maintaining components that are specifically designed for its unique structure and functionality.

Key Components for Detroit Diesel 12.7L DDEC

When it comes to maintaining the Detroit Diesel 12.7L DDEC, some parts are more essential than others. Here are a few to prioritize during diesel parts sales:

Fuel Injectors

These components are vital for delivering the correct fuel-air mixture to the engine’s cylinders. Poor-quality injectors can reduce efficiency and cause long-term damage.

Turbochargers

A high-functioning turbocharger ensures optimal airflow and helps maintain the engine's power. Always source turbochargers that are engineered specifically for Detroit Diesel engines.

Electronic Control Modules (ECMs)

The ECM is the brain of the Detroit Diesel 12.7L DDEC, managing everything from fuel efficiency to emissions. Ensuring you have an updated and fully functional ECM is key to maximizing engine performance.

Gaskets and Seals

These often-overlooked components are critical for preventing leaks and maintaining pressure. Using quality gaskets and seals reduces wear and tear on other parts.

Why Quality Matters

Choosing the right supplier for diesel parts sales can make all the difference. Inferior or incompatible parts can lead to reduced performance, increased fuel consumption, and potential engine failure. Opting for certified components designed for the Detroit Diesel 12.7L DDEC ensures that your engine operates smoothly and safely.

Additionally, sourcing parts from a trusted supplier guarantees not just quality but also the assurance of compatibility. Suppliers who specialize in Detroit Diesel parts often provide warranties, professional advice, and customer support, helping you make the best decision for your engine.

Tips for Finding the Best Diesel Parts

Research Trusted Dealers

Look for suppliers with a strong reputation in diesel parts sales. Online reviews and industry certifications are good indicators of quality.

Ensure Compatibility

Always verify that the parts you purchase are compatible with the Detroit Diesel 12.7L DDEC engine.

Ask About Warranty and Support

Reliable suppliers offer warranties on their parts, giving you peace of mind.

Compare Prices Without Compromising Quality

While it’s tempting to opt for cheaper alternatives, prioritize durability and efficiency over short-term savings.

Conclusion

Investing in high-quality diesel parts sales for your Detroit Diesel 12.7L DDEC engine is an investment in long-term reliability and performance. By choosing components tailored to the engine’s specifications and partnering with reputable suppliers, you ensure that your equipment stays operational and efficient for years to come. Keep your engine running smoothly with the right parts and the expertise to back them up.

For more tips and expert insights, visit narrowayhomestead.com, your trusted source for maintaining top-tier diesel performance.

[gtggff]

International Ecm in Fort Worth

International Ecm in Fort Worth

Are you searching for programming, repair, and testing of caterpillar, Cummins, and Detroit ECMs? Well, 1Engine is one of the leading names for delivering these services by the most experienced professionals in the industry. We have been in this industry for a long time, and we know that diesel truck parts in Texas can be costly both in time and money. At 1Engine, our big inventory of parts, engine truck computer, and integrated system in the USA provides our team to bring the exact part you need in a short duration and within your budget. Our high reputation is supported by the fact that we have been supplying the best quality equipment to the heavy-duty truck industry for many years. You can bet that our quality and price rates always exceed our clients’ expectations.

The wear and tear of trucks while on the road is nothing uncommon. Even though we are talking about the most advanced trucks that can cover tens of thousands of miles in a year, they still wear down after a point of time. In such scenarios, replacement of engine and diesel truck parts may seem inevitable, but that is the right thing to do to keep your truck running and business functioning all the time. We aim to meet your vehicle’s requirements seamlessly so that you can be happy with our services and refer us to others. We are a big organization that is staffed with the best talents and experienced people ready to provide you a solution within a short duration.

Support a Small Business when you buy our products or use our services. Founded in the great state of Texas, 1Enginecontrol started of with two individuals who wanted to make a difference for truckers. Engine computers are the last thing a mechanic should be diagnosing unless a fault is given for ECM. Here we strive to help with technical support and save you hundreds of dollars to get you back on the road as soon as possible. We have built our reputation on trust as we give a 1 year warranty on all our products and strive in customer service. So when you are in a situation where you need to buy an engine control module choose us for three reasons, FAST,LOW COST, AND RELIABLE.

Engine Computers in stock ready to ship. We specialize in Electronic Control Modules. Engine Computers For all makes including Cat, Cummins, Detroit, and International.

FOUNDED MAY,2011

[ameritechdistrib]

ECM Diesel Truck Part

ECM Diesel Truck Part

Are you searching for programming, repair, and testing of caterpillar, Cummins, and Detroit ECMs? Well, 1Engine is one of the leading names for delivering these services by the most experienced professionals in the industry. We have been in this industry for a long time, and we know that diesel truck parts in Texas can be costly both in time and money. At 1Engine, our big inventory of parts, engine truck computer, and integrated system in the USA provides our team to bring the exact part you need in a short duration and within your budget. Our high reputation is supported by the fact that we have been supplying the best quality equipment to the heavy-duty truck industry for many years. You can bet that our quality and price rates always exceed our clients’ expectations.

The wear and tear of trucks while on the road is nothing uncommon. Even though we are talking about the most advanced trucks that can cover tens of thousands of miles in a year, they still wear down after a point of time. In such scenarios, replacement of engine and diesel truck parts may seem inevitable, but that is the right thing to do to keep your truck running and business functioning all the time. We aim to meet your vehicle’s requirements seamlessly so that you can be happy with our services and refer us to others. We are a big organization that is staffed with the best talents and experienced people ready to provide you a solution within a short duration.

Support a Small Business when you buy our products or use our services. Founded in the great state of Texas, 1Enginecontrol started of with two individuals who wanted to make a difference for truckers. Engine computers are the last thing a mechanic should be diagnosing unless a fault is given for ECM. Here we strive to help with technical support and save you hundreds of dollars to get you back on the road as soon as possible. We have built our reputation on trust as we give a 1 year warranty on all our products and strive in customer service. So when you are in a situation where you need to buy an engine control module choose us for three reasons, FAST,LOW COST, AND RELIABLE.

Engine Computers in stock ready to ship. We specialize in Electronic Control Modules. Engine Computers For all makes including Cat, Cummins, Detroit, and International.

FOUNDED MAY,2011

[golzol2020]

Top Carbon Cleaning Service Provider

We have the particular tools and expertise required to re-map and tune your ECM to get probably the most out of your car and see a outstanding improve in performance and power - Engine Carbon Cleaning. We can't emphasize sufficient that a one dimension suits all strategy isn't the case for automobile engine requirements. Although the tips above can help you obtain improved engine efficiency, not everything applies to each car. It is all the time higher to seek the guidance of a car efficiency expert to make a correct assessment and tailor-made recommendations. Friction makes it onerous in your automotive engine to provide higher horsepower. It additionally causes unnecessary power allocation which is wasted engine efficiency.

Our workshop is a member of the auto tech program, training each mechanic to be absolutely updated with fashionable vehicle restore methods. Fuel efficiency standards aim to restrict the greenhouse gasoline (CO₂) emissions produced by our vehicles, utes and different autos. Our extremely skilled mechanics will get you back on the highway shortly and efficiently. Furthermore, we value customer relationships and attempt to supply our superior auto services at price effective prices, all from a staff who fully communicates where we stand through the repair course of - Detroit ONE BOX full Cleaning Service.

We are backed by some of the greatest detailers who never disappoint our prospects and aim to exceed our customer’s expectations. We provide the most effective exterior and inside car detailing providers that clear up your automotive inside out and make it look simply as new as it was when it was bought. We use high quality elements and lubricants and employ cutting-edge diagnostic equipment and repair methods. We protect your  automobile so that you don’t have to expertise expensive and inconvenient breakdowns that might have been prevented.

The cost of an engine carbon clean can vary depending on your car due to differences in labour time and parts needed. Specialist garages will have different equipment to complete your carbon engine clean. Engine carbon pour-in treatment, Injection of super-refined gas into engine, Removal and blasting of engine components. For more information, please visit our site https://dpffilter.com/

[akzo-diesel]

DPF and DEF delete kit | Mack dpf delete | Custom tuning for heavy-duty trucks

If you need any services related to DPF and DEF delete kit, Mack dpf delete, Custom tuning for heavy-duty trucks, volvo eprv delete kit, diesel ecm tuning software, Urea solution for trucks, Engine tuning software or tools, or Exhaust system upgrades, Akzo Diesel is the best place to look for.

Explore our Volvo dpf delete services.

[1enginecontrol23]

Things to Keep In Mind While Replacing ECM of Your Truck

If you have ever gone through the difficult process of doing a diagnostic test on the vehicle’s electric part, then you have definitely come across the ECM or Engine Control Module. It is your vehicle's brain, and it is responsible for all sorts of sensors and programs going on in the vehicle too.

If your Detroit ECM is functioning correctly, it will send a command to all other modules in the vehicle that helps maintain its optimum performance. ECM is the message commander, but it does not indicate that it will not face any problem ever in life.

For instance, you can find out that ECM has started to produce faulty code that indicates that something is surely wrong with your engine. All the components and machinery in the vehicle requires to be connected and work together. A slight fault in one part of the vehicle can impact all the other parts and will disable the vehicle to run differently. The below points will help you to know why ECM should be replaced and why

Why do you need To Reprogram A New ECM?

Your engine beats over time. Though your ECM is built to last forever, it must be reprogramed to make sure that everything is working fine. Several parts in the vehicle might experience wear and tear due to constant friction, and engine parts can become loose due to vibrations. For ECM, it might not need a replacement; it should be reprogrammed. When it does not need to be replaced, you have to buy a new ECM that comes with a standard set of programs with high-end efficiency. It does not need to be reprogrammed to match the specifications.

There are various reasons why ECM stops functioning. If you notice any faulty sign on your ECM, you should immediately repair or replace it. Various ECM repairing companies provide the best services on ECM repairs. Working with a faulty ECM can be fatal for your vehicle and you too. Hence, maintenance and repair are mandatory.

[us281trktrl]

If your issue needs plugging in our truck diagnostic laptop to your truck's ECM we are the right truck shop for you !!! Mario was called out due to a Tor Super Chassis crane's automatic transmission not engaging into a gear, after some extensive troubleshooting found the electronic shifting actuator bad internally, went to go get parts and had customer rolling by 12: 30 PM lunchtime the next day in roughly under 19hrs.. sitting equipment cost more money than working..  Here in the image you see Mario Peña plugged in to the ECM ( Electronic control module ) of a Tor Super Chassis Crane. We can handle ECM issues in almost all commercial heavy equipment and machinery. Remember when you want it done right and quick don't hesitate to call us at U.S. 281 Truck & Trailer Services LLC (956)-783-8991 or visit us at https://www.us281trucktrailerservices.com #ecm #ecu #crane #truckrepairs #transmissionrepairs #transmission #truckdiagnostics #crane #cat #cummins #detroit #peterbilt #kenworth #mack (at US 281 Truck & Trailer Services LLC) https://www.instagram.com/p/B7HF6Z9JF2A/?igshid=ggs71sow7yoj

[the1enginecontrol-blog]

Buy Truck ECM most excellent quality parts and accessories. Get Truck ECM Repair Service in time. Get quote for Semi Truck ECM Repair service.

[imnothinginparticular]

#finishedbooks Dilla Time by Dan Charnals. With no space left in my suitcase...I just had to get this. You figure with books on musical artists you got three angles: musicological, cultural, or biographical to approach the artist...and what immediately hits you is how complete this is in doing all three...and more from the introduction of syncopation by enslaved peoples, the history of electronic music, the abandoned triangular urban planning of Detroit, to Dilla's family's migration north, Detroit's musical history, and finally Dilla himself this is just the first fifth of the book. Going back to "Playing Changes" a book I reviewed on contemporary jazz, I mentioned in the review I was suprised to see a whole section on the Soulaquarians who I love I just never listened to them like I would a Thelonious Monk...and this book now has me listening to Dilla like a Monk and hearing music since him differently. That's a bold claim, and going into this book I was seeing the music notion of "Dilla time" in relation to standard and swing time and initially to an extent I just thought they were going to highlight what jazz musicians have long done in "back phrasing." I talked about this in my review of the "Black Music" book when comparing Hawkins, Young, and Parker mentioning Young's innovation was playing behind the beat...I always joked calling it playing in black time because it is like I am going to get there, it is just not on YOUR time (standard western musical time) but on mine time and it is still on time haha. You can always hear this in Dilla's music his snares are always rushed while at times his kick's are jumping around everywhere yet always sounded perfect. I had just attributed it to RZA who also never quantized beats but I realized for RZA it was genuinely random, for Dilla it was cultivated. And the thing with back phrasing, it was always a solo instrument or vocals like Billie Holiday to some extent...Dilla back phrased the WHOLE rhythm section and THAT changed music. I mean you can hear it of course in any underground hip hop music since but also Neptunes in the stuff they were doing for N' Sync and David Bowie's Black Star album, but jazz really embraced it and it was all over that Norah Jones break out album, but from there Roy Hargrve, Glasper, and McCraven to Kamasai, Jason Moran, Christian Mcbride, and even the current ECM golden child Vijay Iyer wrote his doctoral thesis on it, instead coining it micro time but is Dilla Time, so in effect he defined the pulse of jazz this side of the millennium. So going back to my inital statement in my review, about listening to Dilla like Monk...Monk's music is exciting because he never lands where you would expect from his percussive spliced finger way of playing the piano that creates this beautiful conflict due to his underlying logic...Dilla is the same. But straight and swing time came from Dilla juxtaposing the two feels even and uneven simultaneously creating a new disorienting rhythmic friction. From my autodidact music education when I made beats 20 years ago (with no public school music programs) I worked expecting to hear a beat counted in fours, I'd quantize the hi-hat that really acts as a metronome because it hits two times for every four beats setting the rhythmic current at eight...and I'd play out the kick and snare over 8 bars and loop...Dilla cuz his snare is rushed it messes up the whole structure so instead of 8 slices per a measure in something like "Go Ladies" you got 192 and he shifted that snare by five of those slices or precisely 128th note triplets...and all our ear hears is oddness because it is ahead. What Questlove had to learn playing on D'Angelo's "Voodoo" (which really is what everyone references as the start of Dilla Time on an instrumentized stage) was that to mimic it, he had to do something crazy like naturally saying to yourself, "ok im finna keep my right leg in straight time, swing my right arm at 66 percent, and with my left rush the snare by 1/7 of a quarter note."

[burlveneer-music]

Kompakt - Total 20 - 23 tracks on this milestone label comp

Two decades. Twenty years. Twenty compilations. Over 400 tracks. Over two days of total playing time and countless coloured dots. If someone would have told us in 1999, when we put together TOTAL 1 that this would turn into one of the longest standing compilation series in techno world we would have laughed out loud. But here we are – in the year 2020 which will probably go down in history as the most difficult period ever for club culture. But we won’t stop doing what we’re doing. Music is our oxygen. We’ll dance together soon again. The TOTAL series has always been like KOMPAKT’s yearbook and to say it with the late Frank Sinatra: It was a very good year. Our family of artists delivered a strong heterogeneous mix of uplifting sounds, from the lush reveries of ROBAG WRUHME and SOELA to the stark primetime bangers of MARC ROMBOY or ANNA & KITTIN and everything in between. Notable new entries to our crew are the Londoner KIWI with his wonderfully careless “Hello Echo” that picks up the camp disco vibes Justus Köhncke made a staple in our repertoire. Amsterdam’s DAVID DOUGLAS delivers an appetizer for a full course meal. His quirky pop approach sits comfortably between fellow dutchmen WEVAL’s abstract beats and AGENTS OF TIME’s opulent Italo Disco. YOTAM AVNI blends Detroit techno with new age jazz that reminisces the sound of ECM artists like Jan Garbarek or John Surman. The man with the hat, KÖLSCH also picks up jazzier notes in his very own big room style. Youngblood JONATHAN KASPAR appears twice, fortifying his status as one of the hottest beat smiths of our hometown Cologne. TOTAL wouldn’t be TOTAL without our permanent staff present in full force. As per tradition, KOMPAKT’s founding fathers, VOIGT & VOIGT, JÜRGEN PAAPE, JÖRG BURGER, MICHAEL MAYER as well as our Berlin outpost SASCHA FUNKE all deliver exclusive gems that also feature on Total 20’s double vinyl edition. May TOTAL 20 become your trustworthy companion in these uncertain times.    

[1enginecontrol-blog]

How to Select the Best Cummins Celect ECM for Your Truck?

The framework was known as the "PT" infusion framework, short for Pressure-Time. Pursuing Detroit's famous 60 Series stage, explicitly it's electronically controlled infusion framework, Cummins presented the N14 "Celect" in 1990 (Cummins Electronic Engine Control).

Remanufactured Cummins Celect Plus ECM

Module Experts conveys a full line of Remanufactured Cummins Celect ECM's. Regardless of whether you are searching for a Remanufactured Cummins Celect Plus ECM tomorrow or hoping to send yours in to be remade we have your answer. Indeed, you heard that accurately, tomorrow ensured! Here at Module Experts we will probably get you back out and about profiting once more. Would you like to spare $1,500 under seller cost? At that point Module Experts' Cummins Celect ECMs the your most reduced cost best choice from somebody you can trust.

Quality, Reliable, TESTED Remanufactured ECMs

All our Remanufactured Celect and Celect Plus ECMs in the wake of building are tried by running them on a test motor. Different Companies out there simply supplant parts and depend on you to pay your specialist to introduce and do the testing. These ECMs accompany a 1 Year Parts Replacement Warranty.

Is your Mechanic Unsure it's the ECM? Send it in, well test it for you.

Since we have test motors accessible you can send it in to us to toss on a motor for testing. We will at that point get in touch with you to tell you what choices you have.

Modified Ready to Install, We just need your specs and adjustment data.

Data expected to program the Cummins Celect Plus ECM to your truck.

      VIN #

      HP

      AT or MT transmission, what number of paces

      Back Axle Ratio

      Jake Brake Yes or No

      Manual Fan supersedes Switch Yes or No. On the off chance that yes is it secondary selling or production line

      Tire estimate and low profile or not

24-hour Delivery orders Must be put before 12 PM EST. Following day shipping is $100 – $115 with UPS in the lower 48 states.

We have a Tech Assist program so on the off chance that you at any point run into any issues you can get in touch with us and talk with one of our 8 ASE Certified Master Techs.

There is a $400 center store until we get back a rebuildable center ECM

The Cummins N14 is one of numerous quintessential diesel motor stages from prestigious motor producer Cummins Inc. It was delivered from 1987 through 2001, where it was a generally mainstream motor decision for class 7 and 8 on-interstate applications. Initially using a mechanical infusion framework, the N14, in the long run, embraced the Cummins "Celect" and later "Celect Plus" electronically controlled fuel frameworks.

CELECT Plus has a progressed electronic control module (ECM) that gives upgraded client highlights, improved motor controls, including car style journey control. Higher eco-friendliness. With further developed electronic motor controls and equipment upgrades, N14 Plus motors convey more miles per gallon.

[bobrosenbaum]

Bennie Maupin, Binghamton, NY, 1975.

Bennie is not only a brilliant musician, but a master of sound. Here he is playing with Herbie Hancock and the Headhunters. What I remember most from that night's performance at the local University gymnasium was a totally new feeling: that real music was actually expressed in layers.

Not just scales and choruses and riffs (there are those too), but deeply-woven layers that contain all kinds of sounds that are happening in a continuum, as the musicians create them together.

Jazz was still an untapped reserve for me at the time, but after experiencing the Headhunters, even the Allman Brothers' music started sounding different to me -- more emotionally diverse, more exciting. Bennie's playing that night was probably as much responsible for my awakening as Herbie's.

Bennie's music still does that to me. He plays from a place where we can hear and touch multiple dimensions. There's his rich melodies of course, the rhythmic shifts too; there's Africa, the East, the European tradition, and of course black American jazz. But Bennie is also playing music on distinct, discrete physical planes and -- together with his companion players -- is weaving an audio experience like a craftsman weaves a carpet.

He plays so much and so exquisitely: tenor and soprano saxophone, flute, bass clarinet. Coming up in Detroit in the '60s he played with everyone, of course. And straight ahead too. Bennie is a huge touchstone for an entire musical generation.

I know this all sounds far out, so try this: First listen to Bennie's classic 1974 Jewel in the Lotus (which he recorded with Manfred Eicher on the ECM label, if that says something to you). Then listen to Bennie's 2008 recreation of the same song on his Early Reflections album. You'll hear and understand precisely what it is I'm talking about, I promise.

With all this, Bennie is a deeply quiet man who devotes himself to his art and his philosophy. His presence over the years in all the right places and at the right times says a great deal about his music. If you still don't find his name among the most talked-about players in jazz, it may simply be because that list is still not finished.

Born in 1940, today is Bennie's birthday. Happy Birthday, my friend. Until the next time we are fortunate enough to meet, on this plane or another!

[drjaycalvertmd]

Dr Jay Calvert MD & Dr Jason Berkley have an informative chat with Marvin & Rob of VEDA Sport about the benefits of CBD!! VEDA Sport is a revolutionary health company looking to bridge the educational gap about the amazing health benefits of CBD(Cannabidiol) & THC (Tetrahydrocannabinol). VEDA Sport's isolate-based product line is breaking into the world of professional sports, helping athletes reach their optimal state! PLUS, listeners of this podcast can use promo code "NHLPA" for 25% off VEDA Sport or VEDA ECM products!! Dr Jay Calvert (Dr. Hockey) https://www.podcastone.com/episode/4/20-Special--VEDA-Sport

March 18th 2019 Researchers Launching CBD Study with Former Hockey Players. Investigators are looking for a link between the cannabinoid and alleviation of concussion-related health conditions.

The NHL Alumni Association is one of the sponsors of a study that will examine the effects of CBD on around 100 former pro hockey players who suffer from brain trauma caused by the league’s notoriously rough play.

“It’s really rather sad when you see these giants of sport having to deal with terrible headaches and emotional issues as well���there’s quite a bit of anxiety and depression and PTSD in athletes that has gone unrecognized,” neurosurgeon Charles Tator told a morning television program on Monday.

The announcement of the study is a victory for the former NHL players who have fought for adequate treatment for the damage that professional hockey does to its athletes. Detroit Red Wings standout Darren McCarty and VEDA Sport director Marvin Degon are among the players past and present that have been outspoken about the urgency of connecting pro athletes to safe and effective cannabis treatment for chronic pain.

In fact, professional hockey is leading the charge when it comes to athletes having access to marijuana. Currently, 28 of the NHL’s 31 teams is located in an area where players are able to consume cannabis with minimal risk of penalty. The league in general tends to separate their approach to players’ drug use between performance-enhancing drugs and “drugs of abuse”. The latter category of substances is dealt with on an often confidential, case-by-case basis geared towards helping players to deal with addiction issues. There is no publicly available list of the league’s banned “drugs of abuse”.

This approach is in stark contrast to the MLB, NBA, and NFL, which take a much more punitive view of many substance. Their players are still banned from use of cannabis completely, despite the fact that 82 percent of major league teams (including the NHL) are located in regions where cannabis is recreationally or medicinally authorized. This zero tolerance policy has raised concern among those who recognize the heavy physical punishment visited on professional players’ bodies in a typical work day.

But the chorus of voices for medicinal marijuana in pro sports is growing. The volume was turned up last year with former NBA Commissioner David Stern told an interviewer that he thought cannabis should be removed from the league’s list of banned substances. “I think there is universal agreement that marijuana for medical purposes should be completely legal,” Stern said.

The study for former NHL-ers is due to start this summer and will entail giving many participants CBD pills for a period of one year, the investigation being sponsored by the NHL Alumni Association, Canopy Growth, and Neeka Health. Should the study reveal positive linkage between the treatment and alleviation of symptoms, Canopy Growth has committed to funding further research. The line of study is crucial for former athletes who need an alternative for pain treatment to highly addictive opioids typically prescribed for such health conditions. Concussion-related conditions have been found to lead to depression, PTSD, and dementia.

“We see a lot of athletes who have chronic pain and have other problems related to repetitive brain trauma,” said Tator. “We are reasonably optimistic that cannabis and especially the CBD part of cannabis can relieve a lot of that suffering.”

https://hightimes.com/news/researchers-launching-cbd-study-former-hockey-players/

[ameritechdistrib]

Electronic Control Module in Fort Worth

Electronic Control Module in Fort Worth

Are you searching for programming, repair, and testing of caterpillar, Cummins, and Detroit ECMs? Well, 1Engine is one of the leading names for delivering these services by the most experienced professionals in the industry. We have been in this industry for a long time, and we know that diesel truck parts in Texas can be costly both in time and money. At 1Engine, our big inventory of parts, engine truck computer, and integrated system in the USA provides our team to bring the exact part you need in a short duration and within your budget. Our high reputation is supported by the fact that we have been supplying the best quality equipment to the heavy-duty truck industry for many years. You can bet that our quality and price rates always exceed our clients’ expectations.

The wear and tear of trucks while on the road is nothing uncommon. Even though we are talking about the most advanced trucks that can cover tens of thousands of miles in a year, they still wear down after a point of time. In such scenarios, replacement of engine and diesel truck parts may seem inevitable, but that is the right thing to do to keep your truck running and business functioning all the time. We aim to meet your vehicle’s requirements seamlessly so that you can be happy with our services and refer us to others. We are a big organization that is staffed with the best talents and experienced people ready to provide you a solution within a short duration.

Support a Small Business when you buy our products or use our services. Founded in the great state of Texas, 1Enginecontrol started of with two individuals who wanted to make a difference for truckers. Engine computers are the last thing a mechanic should be diagnosing unless a fault is given for ECM. Here we strive to help with technical support and save you hundreds of dollars to get you back on the road as soon as possible. We have built our reputation on trust as we give a 1 year warranty on all our products and strive in customer service. So when you are in a situation where you need to buy an engine control module choose us for three reasons, FAST,LOW COST, AND RELIABLE.

Engine Computers in stock ready to ship. We specialize in Electronic Control Modules. Engine Computers For all makes including Cat, Cummins, Detroit, and International.

FOUNDED MAY,2011

[dustedmagazine]

Year End 2018: Derek Taylor

Another year above ground. Another year salvaged in no small part through the solace of music. That may register as a Limbo-worthy low bar for measuring life satisfaction, not mention one hopelessly awash in hyperbole, but there’s a reason. The sobering sense of normalcy that’s come to characterize the daily insanity of the world writ large and small makes the railing and grousing about it through a laptop keyboard feel at once futile and arrogant. Many of us still have it pretty good, if not better. Able to move and think freely. Fortunate to readily find the time to spend sequestered with art, whatever the senses and thoughts it stimulates. Plenty of others can’t consistently say the same. That ever-widening disparity weighs on my mind with a regularity that makes the compiling and commentary of lists such as this seem both a luxury and a necessity. We’re all in it together and revitalizing music is as meaningful a reminder as any of that steadfast reality. If only the orange orangutan still soiling the Oval Office and the psyches of millions (if not billions) would swap the MAGA-emblazoned nonsense that’s his usual headgear for the Burnside brim pictured above and mean it!  

No real ranking to the entries below other than the general order to which they visited me through contemplation and return engagement.

Eric Dolphy – Musical Prophet: The Expanded 1963 New York Sessions (Resonance)

Released in haphazard, infrequent and incomplete editions, Eric Dolphy’s interstitial work (landing between his formative tenure at Prestige and his solitary masterpiece for Blue Note, Out to Lunch) under the aegis of producer Alan Douglas has never really received a fair shake from curators and critics alike. That long-standing slight was rectified this year with the Record Store Day release of Musical Prophet: The Expanded 1963 New York Sessions on the Resonance label. Rescued, enhanced and appended with 85-minutes of previously unreleased music and a lavish 100-page book stocked with scholarly essays by the likes of flautists James Newton and Nicole Mitchell, Sonnys Rollins and Simmons, Han Bennink, Henry Threadgill, Oliver Lake and others it’s an unprecedented boon on all fronts. The CD version of the set is slated for a 1/25 street date.

Barre Phillips

Octogenarian expatriate bassist Barre Phillips has sustained a relatively steady output in the 21st century, but End To End, a solo set (his purported last) for ECM, and a Oh My, Those Boys!, a timely reissue of his extended duets with Japanese confrere Motoharu Yoshizawa on the Lithuanian No Business label are aural confirmation of his consistency across decades. Alone and self-limited to the length of a LP he sculpts a somber soliloquy of intimate communion with his instrument. In the fast company of Yoshizawa, who fields a custom-made electric upright, the mood is much more frenetic in playful. Both settings are aurally transfixing.

Mingus – Jazz in Detroit/Strata Concert Gallery/46 Selden

Weighing in at a mighty five-discs, Jazz in Detroit/Strata Concert Gallery46 Selden dispenses with Christian name specifics and allows surname to suffice in announcing its bigger-than-life subject. Mingus’ instrumental faculties weren’t quite as consistent as the virtuosic powers that propelled him in youth (he had just over six years to live in the winter of 1974 when this material was captured), but any effects of advancing age fall away when he calls a tune, soloing with strength and at length and according his auspicious sidemen including drummer Roy Brooks who is ostensibly responsible for the recording’s survival. Retooled staples like “Pithecanthropus Erectus” and “Peggy’s Blue Skylight” join newer improvisational springboards like “The Man Who Never Sleeps” and “Noddin’ Ya Head Blues” to form a veritable smorgasbord of vibrant small group, stage-born jazz.

Peter Brötzmann

The venerable German road dog always has a place on this list. Now somewhat miraculously pushing eighty he’s still at it, crisscrossing the globe and breaking hearty musical bread with friends old and new. Three releases stood out to these ears: two recent duos and a welcome reissue of Hot Lotta, one of his early free jazz missives recorded almost five decades earlier with faithful countryman Kowald and the Finnish duo of Juhani Aaltonen and Edward Vesala. In the must-hear duo column reside, Ouroboros, a 2011 German club date with Chicago cellist Fred Lonberg-Holm on Astral Spirits, and Sparrow Nights on Trost, a wrenchingly intimate studio encounter with pedal steel phantasmagorist Heather Leigh, who ranks easily among Brötzmann’s most intriguing recent coconspirators.

Corbett vs. Dempsey

Keeping the Corbett vs. Dempsey count to just three for the year is a tough task as their usual prolificacy combined with a commensurate excellence. The reissue of Steve Lacy’s seminal Stamps, originally released in 1979 as his debut for the Swiss Hat Hut imprint narrowly edges out the equally edifying appearance of Milford Graves long-lost Bäbi if only because my spouse allows me to spin the cacophonously calorific latter platter only in her conspicuous absence. A decade was a long time to wait for Joe McPhee and Hamid Drake’s duo follow-up, Keep Going, this time trading stage for studio. But from the music to the mantra-ready title it’s a welcome inoculation against the forces of idiocy and ire globally arrayed against those with humanist allegiances.

Guy Lafitte

Last year it was Lucky Thompson. This year French tenorist Guy Lafitte got the Fresh Sound archival treatment with four full discs of material from his heyday as one of his country’s most popular indigenous purveyors of jazz. Each set delves into a different side of his folio from tight ensembles to modestly-sized orchestras, sometimes in the company of visiting guests, but more often plying his sound amongst a core crew of fellow believers. One of former, Michel de Villers, also earned a survey with The Complete Small Group Sessions 1949-1956 that shows him living up to the sobriquet of “Low Reed” at length on deftly deployed baritone saxophone.

Steeplechase

The Danish Steeplechase label always seems to slot in my yearly look back, mainly because of the consistency of both their roster and long-standing aesthetic. Sea changing surprises instigated by their records are exceedingly rare, but the odds of a stimulating listen are conversely high with virtually every release. Guitarist Pierre Dørge’s Soundscapes convenes a quintet with tenorist Stephen Riley and cornetist Kirk Knuffke in the service of the leader’s customarily open-ended compositions. Riley’s Hold ‘Em Joe is at once a canted tribute to Sonny Rollins and a welcome return to the piano-less trio format he first cut his teeth on for the label a decade ago. Baritonist Gary Smulyan’s Alternative Contrafacts yields winsome results with the instrumentation as well in a creative nod to the sort of extrapolations that were the fertile province of the Tristano School in the last century.

No Business/Chap Chap

A partnership between the No Business label and the Korean Chap Chap imprint continues to yield impressive reissues. All in circulation to date are worthy of consideration, but two bent my ears with pleasing consistency. Kang Tae Hwan’s Live at Café Amores offers an extended concert for solo saxophone that is equal measures Zen meditation and extended techniques master-class. Choi Sun Bae Quartet’s Arirang Fantasy teams a trio of Korean improvisers with visiting Japanese bassist Motoharu Yoshizawa for another café set that is ripe with cross-cultural creativity. Lastly, a reissue of sorely unsung vibraphonist Bobby Naughton’s 1976 masterstroke The Haunt with Leo Smith and the recently-deceased Perry Robinson (R.I.P.) in a setting of creative chamber jazz perfection.

Jimi Hendrix – Electric Ladyland 50th Anniversary (Sony)

Repackaging of milestone rock albums is still the rage even as the compact disc as a physical musical format continues to wane with advance of other intangible digital formats. Hendrix has had his fair share of legacy parceled and promoted along these lines and it’s hard to fault the family for seeking to both cash-in and do right by his memory. Electric Ladyland 50th Anniversary does better than most past projects in this regard by hewing to a logical presentation and proffering some genuine value across three compact discs, a Blu-ray and a lavish LP-sized container replete hardcover tome covering all the minutiae of the original double-album phenomenon. And let’s face it, Hendrix fooling around with songs in their protean forms is more fun than sitting down with most rock musicians’ finished product.

Jack Sels – Minor Works (SDBAN)

Parts of Belgian Jack Sels biography read like Hollywood-ready bohemian melodrama with riches, rags, tragedy and triumph all sewn into the story of a saxophonist who spent much of his life trying to capture the magic of his American idols while remaining fiercely true to his European roots. That latter decision explains his relative anonymity today, but the expertly-curated if humbly-titled Minor Works is practically bursting with recovered music and anecdotal context that frames a vivid portrait of a player well-deserving of posthumous consideration.

Jon Irabagon

Irabagon’s a dues-payer, tireless and admirably selfless in his dedication to a revolving door of projects and regular gigs. A recent interview with clarinetist & podcaster Jeremiah Cymerman reveals just how cool and unflappable a customer the Filipino-American saxophonist can be as he relates exercising the patience of Job in the face of dunderheaded racism by erstwhile peers. On the aural front two specific contexts stuck with me as evidence of his indefatigability. Dr. Quixotic’s Traveling Exotics on his own Irabbagast imprint teams his quartet with veteran trumpeter Tim Hagans in a program that feels like a natural and more focused extension of earlier work in Mostly Other People Do the Killing. Dave Douglas’ Brazen Heart: Live at the Jazz Standard released on the trumpeter’s Greenleaf label explores one of Irabagon’s recurring sideman posts and at length over eight discs covering a four-night stand at the titular NYC club in 2015.

Roscoe Mitchell

Recent and nascent masterworks with nearly a half-century of revelatory activity between them, Ride the Wind (Nessa) and Sound (Delmark) represent two essential signposts in Roscoe Michell’s reliably iconoclastic career. Both center on the blurring the subjective boundaries between improvisation and composition. Whether adapting improvised solos to orchestral charts or atomizing ensemble interplay into a freeing malleable framework that can take participating musicians in a multiplicity of expressive directions, Mitchell’s courageous adherence to personal designs and investigations has always been the bedrock of his work.

Intakt

The Swiss Intakt imprint bridges the best aspects of a classic label construct (reliable stable, dependable production values, deep catalog, etc.) with a refreshing willingness to tweak the formula through a voracious ear for new talent. German altoist Angelica Niescer’s triumphant Berlin Concert and a pair of from Cuban pianist Auran Oritz, Live in Zurich with his working trio and Random Dances and (A)tonalities in the unexpected company of clarinetist Don Byron fit that latter bill. Globe Unity 50 Years celebrating the half-century longevity of Europe’s most influential improvising orchestra and Music for David Mossman by the equally indelible trio of Evan Parker, Barry Guy and Paul Lytton argue conclusively that the former end of Intakt’s endeavors is equally secure.

  Clean Feed

Staunch loyalists to the tradition of improvisational album in physical form, Lisbon-based Clean Feed doesn’t just soldier on, it leads away with a release docket that reliably weds frequency with dependability. The sixteen discs that hit circulation in the span since January all have elements to recommend them, but two stuck to my ears and cranium more tenaciously than the others for both their audacity and intimacy. Vocalist Serpa’s Close Up is exactly that, a sans-net song forum with the stark support of Ingrid Laubrock’s saxophones and Erik Friedlander’s cello as the sum of sounding board. Similarly, trumpeter Susana Santos Silva’s All the Rivers situates her solitary horn in the unforgiving acoustics of the Panteão Nacional, a vast marble cathedral, for a recital rife with reverberating complexity.

  Satoko Fuji – 12 for 60 Project

Year-long artist celebrations through output aren’t exactly common, but there’s certainly precedence (bassist Reuben Radding’s 12 in 2007 springs to mind). Already admirably prolific Japanese pianist Satoko Fuji decided to commemorate her 60th birthday on the planet by releasing a dozen albums on the Libra label over the course of the annum. As with her back catalog, many of them featured her kindred spirit Natsuki Tamura on trumpet as well as ensembles both familiar and freshly-minted. I’m still digesting the series in sum, but the standout so far is Aspiration, the core duo’s conclave with Wadada Leo Smith and electronicst Ikue Mori. Fuji has an admitted tendency to crowd the market and numb the senses with her productivity, but the focus and unity guiding these releases sets them apart.

Voices of Mississippi: Artists and Musicians Documented by William Ferris

In common with the intimation of its name, Dust to Digital is a label that takes its time in the laudable work of producing archival music collections that stand instantly apart in terms of quality, scope and expertly-examined context. Voices of Mississippi: Artists and Musicians Documented by William Ferris is a work of art from the packaging to the sounds (and sights) contained within. Incisively indexed into three categories (Blues, Gospel & Folk), the field recordings are immersive and often carry the mesmerizing magic of incantations. A fourth disc containing a DVD collection of Ferris’ hand-shot films evokes time, place and person even more vividly. Temporary antidotes to slowly normalizing nightmare we find ourselves in as a world abound on this list, but this the one I have probably returned to most since my first encounter. It’s that transportive.

V/A – Technicolor Paradise: Rhum Rhapsodies & Other Delights

Exotica was originally indicative a certain slice of commercial music expression, one inextricably entangled in associative issues of appropriation, exploitation and in many cases mollification of indigenous cultural capital. Sometimes it was a complete recontextualization entirely as Numero Group’s Technicolor Paradise explores over three discs and an associative booklet brimming with commentary. This sort of deep crate project is nothing new for the label, but it is gratifying to see them go at it with such gusto after an earlier and unexpected embrace by the label honchos of streaming as a means of revenue. Some selections tip irrevocably into bromidic kitsch, but the first disc especially, which focuses on guitar bands keeps a more even keel of interest.

Charlie McCoy – Real McCoy/Charlie McCoy/Good Time Charlie/Fastest Harp in the South

Jerry Reed – Jerry Reed Explores Guitar Country/Cookin’/Georgia Sunshine/Me & Jerry (w/ Chet Atkins)

Time was when a two-fer reissue was a common currency in the compact disc market place. BGO’s done that erstwhile staple two better maintaining a fearsome foursome reissue program. Sets by country mouth harp maestro Charlie McCoy and good old boy-turned-ace guitar picker-turned-movie star Jerry Reed. Both are dipped liberally in countrypolitan production values that only occasionally slide over into schmaltz and McCoy wisely avoids vocals in favor of instrumentals that often sound like they could serve as soundtrack snippets to The Rockford Files (not a bad thing). Reed by contrast had a decent set up pipes to complement his strings-slinging skills and the chutzpah to try his hand at dry humor like the hilariously off-the-cuff ode to inconsolable nicotine addiction, “Another Puff.”

V/A – The Beginning of the End: The Existential Psychodrama in Country Music 1956 to 1972 (Omni) V/A – Hillbillies in Hell: Country Music’s Tormented Testament (1952-1974) – The Resurrection (Omni) V/A – Hillbillies in Hell: Country Music’s Tormented Testament (1952-1974) – The Rapture (Omni)

After an unexplained although far from unnoticed hiatus several years ago, the Omni Recording Corporation out of Australia roared back to life with renewed reissue campaign. The schedule of new projects eschewed full album(s) + plus bonus tracks for keenly curated collections focusing on the wilder and more tortured sides of the vintage country and country/pop spectrum. The Beginning of the End details descents into madness committed to song while two volumes more of the ongoing Hillbillies in Hell series doubled the entries to date describing that region of idiom(s) devoted to Beelzebub and his myriad earthly incarnations. All three are archly edifying as they are fun.

Sun Ra

Sun Ra reissues are once again a semi-regularity now thanks to reissue operators like Modern Harmonic and Cosmic Myth, both of which have conscripted longtime Ra repository Michael D. Anderson in their noble endeavors. Cymbals/Symbol Sessions: New York 1973 covers ground previously mapped by an earlier set on the Evidence label pairing worthy material including the (16:33) John Gilmore tenor <I<tour de force “Thoughts Under a Dark Blue Light.” God is More Than Love Can Ever Be has singular status as the solitary piano, bass and drums trio album in the entirely of Ra’s omniversal oeuvre and largely lives up to the stated promise of that proposition.

25 more in no fixed order...

Tyshawn Sorey – Pillars (Pi)

Henry Threadgill – Dirt… And More Dirt (Pi)

Peter Kuhn Trio – Intention (FMR)

Dave Holland – Uncharted Territories (Dare2)

Devin Gray – Dirigo Rataplan II (Rataplan)

John Coltrane - Both Directions at Once: The Lost Album (Impulse!)

JD Allen – Love Stone (Savant)

Fay Victor’s SoundNoiseFunk – Wet Robots (ESP-Disk)

A Pride of Lions – The Bridge Sessions 8

Michael Adkins – Flaneur (hatOLOGY)

Houston Person & Ron Carter – Remember Love (HighNote)

Spontaneous Music Ensemble – Karyobin (Emanem)

Cecil Taylor – Poschiavo (Black Sun)

Paul Rutherford – In Backwards Times (Emanem)

Mike Westbrook Concert Band – The Last Night at the Old Place (Cadillac)

Ustad Zia Mohiuddin Dagar – Raga Yaman & Ragas Abhogi & Vardhani (Ideologic Organ)

Kitsos Harisiadis – Lament in a Deep Style: 1929 to 1931 (Third Man)

Asnakech Worku – Asnakech (Awesome Tapes from Africa)

V/A – African Scream Contest 2 (Analog Africa)

Mulatu – Afro-Latin Soul (Worthy/Strut)

V/A – Listen All Around: The Golden Age of Central & East African Music (Dust to Digital)

V/A – Ocora – Le Monde Des Musiques Traditionelles (Ocora)

V/A – Music City Blues & Rhythm (Ace)

Professor Harold Boggs – Lord Give Me Strength: Early Recordings 1952-1964 (Nashboro/Gospel Friend)

Yuri Morozov – Strange Angels: Experimental & Electronic Music (Buried Treasure)