Jazz-Rock Fusion has been morphing in the 21st Century with elements of some of pop and prog's newer sub-genres and movements creeping into the infrastructure of the "fusion." We now get to hear our J-RF infused with Trip Hop, Acid Jazz, Post Rock and particularly, Math Rock, Minimalism, Metal, Klezmer, and a plethora of computer-processing technologies including Glitch and EDM as well as all of the old "retro" styles and techniques (funk, soul & R&B; classical, folk, be-bop and hard bop. Here are my favorite Jazz-Rock Fusion albums of the decade of the 2010s.
1. MONOBODY Raytracing (2018)
The boys from Chicago are back! As you may recall, their 2015 self-titled debut crashed onto the Post Rock scene with quite a splash! In fact, I rated it as a five-star masterpiece and included it among my list of favorite Post Rock albums of all-time. As good as that album was, this one may be better. The tempo variations and melodic maturity displayed here shows that these guys have been working hard over the past three years.
Line-up / Musicians:
Al Costis: electric bass, vibraphone, lap steel guitar
Collin Clauson: keyboards
Conor Mackey: electric guitar, keyboards, vibraphone, programming
Nnamdi Ogbonnaya: drums, percussion
Steve Marek: electric bass
With
Matt Attfield: trombone (4)
1. "Ilha Verde" (10:44) opens with slow, delicate playing from heavily distorted and lightly-flanged electric instruments while drums play clear and pure somewhat sub rosa. Things ramp up into a tight jazz weave in the third minute and then get crazy-cruisin' by the fourth--a little avant with tight stop-and-starts and a very tightly woven weave. By the middle of the fourth minute things are bass-slappin' primal, if you know what I mean! Then, just as suddenly, at the four minute mark things break down and we glide into a section of gorgeous Lyle-Mays-like melodic jazz. Guitar and piano here are so tight! This is such a diverse odyssey--like a jazz master class! Intricate staccato work returns, followed by the heavier King Crimson-like stuff to the mid-eight minute. Another break as we enter a new dreamy patch. Wow! What a ride! It is truly like experiencing all of the emotional and spatial shifts of Homer's Odyssey--in just under eleven minutes! Great multiple-layered pacing in the final section as drums go frenetic beneath gentler keys and floating guitars on top. (18.25/20)
2. "Raytracing" (4:47) complex, fast-paced weave with, at times, a bassa nova kind of beat structure and some really funky guitar and vibe sounds woven into some gorgeous passages. Incredibly impressive cohesion and synchrony from all band members. Incredibly impressive song! (10/10)
3. "Former Islands" (5:26) the song most like their debut album. It opens fast-paced, intricately woven as Post Rock with a TOE. (Japanese Post Rock band) feel to it. Solid, impressive song with solid, impressive instrumental performances over the course of two movements in an A-B-A-B structure. The melodies in the B section are gorgeous. (10/10)
4. "Echophrasia" (9:59) a gentle, spacey opening section with floating synths and keys over which percussives and guitar noodle their rapidly traveling passages. When things pick up and become jazzier in the third minute, the feel becomes all intricately constructed, well-rehearsed timed rapidly arpeggiated chord progressions--jazz! A spacey interlude in the fifth minute lets everyone catch their breath before guitar arpeggi, cymbol play support trombone and slide guitar work. The intricate weave of guitar, keys, and bass and drums rises and intensifies before a guitar scream introduces a "heavy" technical-metal section. This is so impressive the way the whole-band's timing has to be so perfect in order to pull off the realization of these crazy-complex compositions! (18/20)
5. "The Shortest Way" (1:03) a cross between John Martyn's echoplex guitar and Mark Isham's synth work to give the listener a little respite from this stunning album. Thank you! (4.5/5)
6. "Opalescent Edges" (8:08) speaking of Mark Isham, this one opens like a Minimalist Isham-Bill Bruford EARTHWORKS piece. Chunky bass and psuedo-power chords give the third section a little STEELY DAN feel to it. (What?!) But then Conor Mackay just has to show off his amazing speed for a few before we fall into another classic jazz gentle bridge leading to a Stick and vibes weave with keys and bass and drums rockin' out to drown out the band! This sixth minute would have been the perfect finale, but no, the band has to keep going in order to let some individual steam off--here the guitar and synth get some solo time before they weave back into whole before decaying into the sedating final minute of space sounds. Wow! What did I just experience? How does one define this music? "Prog Perfection!" (15/15)
Total Time 40:07
Throw away the Post Rock/Math Rock label, boys, this is Jazz-Rock Fusion at it's most intricately KonstruKted King Crimsonianness.
94.6875 on the Fishscales = A/five stars; a certifiable masterpiece of modern progressive rock music--and album that would make Señors Fripp, Bruford, Levin, Belew, Gunn, Mastelotto, Harrison, Jakszyk, and Rieflin proud.
2. MONOBODY Monobody
Precisely performed jazzy Math Rock from some youth from Chicago. Gutsy, intelligent, complex and intricate yet delivered tight and with great melodic sense.
1. "Lifeguard of a Helpless Body" (4:15) with the same fast pace and upbeat nature of a TOE (Japan) jam, this sets the tone for the album with some fast-picking (and tapping) guitar work. Such a refreshing sound! (10/10)
2. "I Heard them on the Harbor" (5:56) takes its time in establishing patterns as it opens with several instruments taking turns appearing and disappearing. It is only into the third minute that a rhythm and structure is established and played over--but then is challenged and discarded in lieu of some spacey and then jazzy keyboard. The spacey, spacious soundscape reappears for a while until at 4:18 an entirely new and soft-beat rhythmicity is established and built around. And exquisitely so, I might add! Cool and unusual song. (9/10)
3. "Curry Courier Career" (8:11) opens sounding like an intricate, upbeat WES MONTGOMERY song. It then diverts into I kind of étude in sharp time changes and collective band discipline. Things shift and progress in this song so quickly and suddenly--totally unpredictably. There is, however, a pattern to the song structure here (as opposed to song #2). A song that displays some seriously talented and skilled musicians and some seriously well-rehearsed execution of some seriously well-thought out song composition. Definitely the most jazzy song on the album. (13.5/15)
4. "Exformation" (5:21) opens with some intricate and frenetic guitar tapping leading the band into a stop-and-go kind of rush hour traffic pace. The guitarists melody lines here are seriously (and continuously) fast! Even in the mid-song lull the keyboard and guitar lines are intricate and speedy. STANLEY JORDAN would be impressed! (9/10)
5. "Gilgamesh (R-Texas)" (6:18) lots of interplay between instruments off doing their own thing: staccato rhtymic hits from drums and rhythm instruments, polyrhythmic arpeggi from piano, guitars and synths. It is an amazing display of artistry, vision, discipline and restraint. There's even quite a liteel MUFFINS-like Canterbury play in the chord and melody structures of the third and fourth minutes (and the horns in the fifth minute). Everything drops off at the end of the fifth minute save for an electric piano chord sequence--over which the delicate play of other instruments is added to the end. Another outstanding gem of a song! (10/10)
6. "Country Doctor" (5:25) opens with a simple little piano arpeggio repeated over before countrified big band joins in. The pace is atypically slow for this band until the one minute mark when a wall of KAYO DOT-like electrified sound enters and swallows us. The music vacillates back and forth for a while between the MAUDLIN OF THE WELL like beauty of intricately woven soft-picked instruments and the occasional wake-up call of a blast of heavy metal dynamo then settles into a long section of soft but intricately woven multiple instruments. The final 35 seconds allows instruments final flourishes over a fast piano arpeggio. Beautiful song! My favorite on the album. (10/10)
Every once in a while an album comes out of nowhere to shock and surprise me--and this is one of those. I only wish I had heard it in the year it was released so that I could have had more say in helping to bring attention to it. This is an AMAZING album that is truly worth the while of any prog lover's time and attention. Check it out!
94.61 on the Fishscales = A/five stars; a veritable masterpiece of progressive rock music! But what is it? Post Rock/Math Rock like TOE or ALGERNON? Eclectic Jazz Rock à la FROGG CAFE or UNAKA PRONG? Canterbury jazz like MANNA/MIRAGE/THE MUFFINS? It's a mystery! They're chameleon's! I can't wait to watch their future unfold for the skies are not too high for these talented musicians!
3. ANTOINE FAFARD Ad Perpetuum
This is an amazing album of jazz fusion very much in the vein of the BRUFORD albums of the late 1970s or the JEAN-LUC PONTY albums of the early 1980s, but more polished and way more more accessible. Composer and band leader Antoine Fafard is an accomplished jazz bass player, but here he has garnered the loyalty of some extraordinary musicians to help realize his music: preeminent drummer Vinny Colaiuta and guitarist extraordinaire Jerry De Villiers, Jr. In fact, the drumming throughout this album is so amazing, so breathtaking, so far beyond all other drummers and yet (not so much as to distract or detract from the other fine musicians, that) I have to proclaim that this is one of the finest recorded exhibitions of studio drumming that I have ever heard. Perhaps the best!
Three amazing musicians all at the top of their game (four including sax player Jean-Pierre Zanella) ... playing a set of beautifully composed and flawlessly executed songs. No disrespect to the Townsends, father and son, or Mr. Holdsworth but, when the virtuosity is there, there is nothing like a band of live musicians. A lot of the songs remind me of Jaco Pastorius Weather Report, Percy Jones Brand X, and Jeff Berlin Bruford--with a little bit of Joni Mitchell, Pat Metheny, Bill Bruford's Earthworks, and Hiromi's Sonicbloom thrown in there.
This may be a bit premature, but I'm going to go out there and say that this is one of Jazz Fusion's all-time top 10 albums! It is that good! What a jaw-dropping concert experience this would be!
Favorite songs: ALL!! (Even the "nutty" one! ["D-Day" (5:20) (9/10)]) Unfortunately, the only sample available on YouTube thus far is this documentary of the making of Ad Perpetuum. I'll link you to more as it gets uploaded.
Here they are! They're starting to come out: the very Jean-Luc Ponty/Randy Jackson era-like "Eternal Loop" (5:22) (9/10)
94.0 on the Fish scales = Without hesitation: this is a five star album! A masterpiece of progressive rock music and one of the best jazz fusion albums of the 21st Century. Check it out! NOW!
4. I KNOW YOU WELL MISS CLARA Chapter One (2013)
Incredible Jazz-Rock Fusion from Indonesia with guitar prodigy Reza Ryan in the lead. I can definitely see why Moonjune Records is backing this band and album.
Line-up / Musicians:
- Reza Ryan / guitar
- Adi Wijaya / keyboards
- Enriko Gultom / bass
- Algiah Akbar / drums
Special guest:
- Nicholas Combe / sax
1. "Open The Door, See The Ground" (10:17) for the first 2:15 of this song, keyboard maestro Adi Wijaya and his rhythm section perform over a chord progression that feels Crimsonian, UZedian, and eerily dystopian. But then bassist Enriko Gultom and drummer Algiah Akbar establish a totally new rhythm structure to support the odd chords while Adi switches to Fender Rhodes for tinkling his ivories for a bit in a Chick Corea kind of style. Then at 3:42 Reza Ryan makes a bold entrance with his loud and heavily-distorted (and compressed) electric guitar, playing in a dynamic and dissonant style that could be called a blend of Larry Coryell with hints of Allan Holdsworth, and Tevor Rabin The next motif feels almost Zeuhlish with some really odd guitar note play over some weird Yes-like "The Solid Time of Change" (first section of the song "Close to the Edge") only on speeded up as if on steroids. This section crescendos then leaves us at the edge of a cliff looking down into a great canyon of limited movement, limited life (a recapitulation of the song's opening Fender Rhodes-created theme). A brilliant song and a great album opener! I KNOW YOU WELL MISS CLARA definitely have my attention--and full respect (already)! (19/20)
2. "Conversation" (8:02) another sparsely supported Fender Rhodes opening using odd chord progressions--this time sounding more jazz-oriented: like something from a John McLaughlin album. Reza's guitar joins Adi in the second half of the second minute, playing off and with Adi's chord progressions, and then the bass and drums kick in, though with minimal form and flow thus far, while Adi moves to supportive chord play as Reza steps up to lead the melody making. Surprisingly, Adi soon steps up to play off of, against Reza's note play: not as a duel but more as a curious but shy friend trying to mimic or copy his friend. Quite cool! Such clever ideas being rendered with such creativity and dexterity. (14.25/15)
3. "Pop Sick Love Carousel" (6:16) opening with a very cool ominous ECM jazz rock fusion sound and motif, the moody, spacious music takes about 1:35 to really form out of what feels like a very pungent primordial soup. The melodies and funky Jazz-Rock Fusion tune that emerges is surprisingly organ-centric for a bit before a full-band breakout early in the fourth minute reminds the listener why Jazz-Rock Fusion fits under the Progressive Rock umbrella. There are some really cool sounds used here--as well as some really interesting (and super cool) engineering choices (really up-close and personal--like you're sitting in the chairs of the musicians!): from the guitar, keys, and even engineers. Each motif is great and feels continuous--like it all fits just the way it was meant to. And the solos from Reza are nothing short of astounding! Some of the best I've heard in the 21st Century. (9.75/10)
4. "Reverie #2" (14:51) the first song that has me thinking of "What if Herbie Hancock's Headhunters and John McLaughlin's Mahavishnu Orchestra ever composed and performed together"--like the Santana-McLaughlin album Love Devotion Surrender. Bass player Enriko Gultom is sure having fun with his wah pedal and other effects while Adi's Herbie-like chord exploration is beyond prediction or comprehension and Reza's blaring-with-feedback guitar sound gives Mahavishnu's decibel level a whole new category. The guitar sound and style of play in the first motif of the song is so similar to that of EEF ALBERS' "Wingless" and "Orion" from FOCUS' 1978 album, Focus Con Proby. Cool, cool song! One to be studied for years to come! (28/30)
5. "Love Letter From Canada" (4:26) post-apocalyptic atmospherics (from a world nearly void of any activity signifying the presence of life) from Adi and Reza with subtle, minimal help from Enriko and Algiah. It sounds very much like something the ECM label would have fostered and/or created. (8.875/10)
6. "Dangerous Kitchen" (9:04) more heavily-treated guitar--this time coming in single-strummed chords progressing up and down the fretboard--starting out very starkly accompanied by subtle cymbal play and walking bass line that gradually fills and speeds up while sax and rest of the drum kit join in. In the third minute there is a coming together of the full band with a bridge of chords before releasing time and space to the walking bass drum shuffle before a second whole-band bridge. Adi emerges from this second bridge on his piano, soloing with both hands seeming to be trying to get on the same page together. Fascinating! If I didn't know better I almost would have guessed that there were two different pianists playing on two different tracks, neither having a clue as to what the other was doing. Bridge and up front steps Nicholas Combe--but I find myself still glued to paying attention to Adi's fascinating "two-mind" piano chord play beneath. Reza enters in the seventh minute with a very creative choppy solo--even trebling up his sound with two other tracks of heavily-treated guitar backing his own soloing from each of the wings. The band comes back together, livening things up with some more energetic whole-band spirit, for the finish. Fascinating song: definitely unusual and highly creative. Not sure (yet) whether I like (18.25/20)
7. "A Dancing Girl From Planet Marsavishnu Named After The Love" (10:48) as the awesome song title suggests, this is a song inspired by and imitative of the Mahavishnu Orchestra. The open motif is quite like something from the First Incarnation of the MO, using an ascending chord progression of unusual chords to build the song around. In the third minute solos break out from keyboardist Adi Wijaya's electric piano and Nicholas Combe's alto sax, and then Reza's guitar. All the while bassist Enriko Gultom and drummer Algiah Akbar keep things moving: at first continuing the same ascending chord progression from the opening motif, but then, beneath Reza, switching to a more centralized groove. At the end of the seventh minute the rhythm section changes pace, slowing things down a bit with a swirly swing within which Mr. Combe takes the lead again. This swirling passage is quite hypnotic, allowing Nicholas lots of room to shine--and shine he does--but then the song is suddenly over! Faded out right in the middle of a great groove! Too bad! A great song! Listening to it again I can also see where those King Crimson albums of 1973 & 1974 (Larks' Tongues in Aspic, Starless and Bible Black, and Red) came from. (19/20)
Total Time 63:44
This record has such an intimate sound and feel--as if you're there creating the music with the band. At the same time, the individual musicians are so creative--as are the constructs of the wonderfully-creative compositions and melodies. I feel that keyboard player Adi Wijaya is well-steeped in everything HERBIE HANCOCK (maybe even figured out how to channel the Sly Chameleonic Butterfly), whereas Reza and the rhythm crew seem to hold Mahavishnu John McLaughlin close to their core.
93.70 on the Fishscales = A/five stars; a masterpiece of modern-day Jazz-Rock Fusion that pays respect to (and draws from) so many of the masters of classic Jazz-Rock Fusion! HIGHLY RECOMMENDED.
93.70 on the Fishscales = A/five stars; a masterpiece of modern-day Jazz-Rock Fusion that pays respect to (and draws from) so many of the masters of classic Jazz-Rock Fusion! HIGHLY RECOMMENDED.
5. UTOPIANISTI The Third Frontier
The next (third) album from the incredibly talented Finnish avant jazz composer/bandleader, Markus Pajakkala. I find myself liking this album much better than the previous albums because of it's cohesive flow. On II each and every song sounded and felt so different--which makes a lot of sense considering the use of completely different musicians on each and every song. Also, the increased presence of the operatic vocalization of female vocalist Suvi Väyrynen (on three songs) gives the album a bit of a Zeuhl (UNIVERSAL TOEM ORCHESTRA) or Canterbury (AMANDA PARSONS, ELIZABETH GASKIN and THE NORTHETTES) flavor--which I love. I just think Markus has probably matured, clarified his vision, and polishing his songs as well or even better than before (he has always shown impeccable attention to detail in the engineering room).
1. "Voodoo Mammoths From Neptune" (4:25) has such clarity in its sound production! It is an odd, cinematic piece with a nicely extended introductory section which allows the listener to get hooked in for the ride. Simply stunning sound! (9/10)
2. "Dr. Gravity's Evil Plan" (4:01) treads more into cinematic jazz like a good spy thriller--or a spoof of a whodunnit. Great ensemble timing opens before multiple trumpets are given solo lines--at the same time! At the end of the second minute some nice organ play bridges into the next section. (Again, the clarity of sound distinction is remarkable!) Awesome organ play gives way to flute while the background ensemble keeps things so tightly glued together! How Markus gets this kind of collaboration from his band is remarkable! Awesome, simple bass line near the forefront holds it all together so well. (10/10)
3. "Universe For Dummies" (5:52) opens with some staccato arpeggi from the electric bass before the wonderful vocalise of Suvi Väyrynen betrays the composer's Canterbury intentions. Great weave of some quite disparate threads--like from horns, vibraphone and electric guitar--breaks into full force at the one minute mark. Very much like a song from INNER EAR BRIGADE. Great soli (and from some odd instrumental choices/sounds) parade around the foreground while bass and organ continue tip-toeing around with the foundational bob and weave. Truly an astounding song! (10/10)
4. "White Dwarf" (1:24) slows things down as an electric piano (Rhodes?) solos slowly before being joined by reed instruments. Cool sound! (4.5/5)
5. "Life As We Thought We Knew It" (4:55) opens with a metronomic electric piano riff which is built upon by horns, vibes, guitars and cymbals. Very pretty. At 1:32 the volume turns up though the play of the horn section gives it all a kind of CHICAGO feel--if however briefly. At 2:38 things get more serious. This could be right off of FROGG CAFÉ's 2010 classic, The Bateless Edge (which makes me beg for the presence of some lyrics--like "Terra Sancta"). Nice song! (9/10)
6. "A Hundred Rabbits" (5:03) opens with a little funk coming from the rhythm section of bass, drums, congas, vibes and clavinet. These are shortly joined by horns and woodwinds and, a bit later, the synth-horn-like vocalizations of Suvi. Things are toned down a bit toward the end of the second minute to allow for the isolation of a flute solo. HUBERT LAWS would be proud! A little bass solo bridges our way into a protracted solo from a seething electric guitar. HENDRIX would be proud! Awesomely woven into the funky horns until it finally fades away into the background so that Suvi and the horns can take us out. Awesome song! (10/10)
7. "Spanking Season" (2:33) the first song I heard from the album has vocals! Odd, cabaret-like vocals--not unlike the stylings of HUMBLE GRUMBLE, PINGVINORKESTERN, KNIFEWORLD or MAJOR PARKINSON. Fun, funny, laughable and eminently clever song! Great solo from a 'Space Invaders' synthesizer toward the end. (9/10)
8. "13 Demons In The Disco Dimension" (3:12) opens with some odd radio clip before a campy melody and odd time rhythm establish a kind of Zappa-esque envirnoment--sophisticated, highly disciplined, and sleek. Not my favorite song but I truly respect and understand it. (8/10)
9. "The Last Reflection" (7:00) Has a bluesy soul and proggy feel to it, as the whole band seems to ride as one wave while the drums are free to play beneath! The delicate part in the fourth minute which opens up space for the vocalise soloations of the gorgeous voice of Suvi Väyrynen is perfection! Great restraint is shown throughout this song from both the composer and his musicians. Even the climax starting at 5:15 shows great emotion and sympathetic feel from all: horns, bass, drums, organ, electric guitar--I can really feel it from all of them! Amazing! (15/15)
All in all, Markus Pajakkala has packaged together a masterpiece of incredibly well contrived and well executed theatric jazz. Consistently, this is one of the best ensemble performances of very sophisticated music that I've heard in a while. Definitely one of the funnest albums of the year (so far).
93.33 on the Fish scales = A/five stars; a true masterpiece of progressive music.
6. JAGA JAZZIST Sunfire (2015)
What an incredible breath of fresh air! I am so glad to be reminded by an album like this of how much I love upbeat, happy-go-lucky groove tunes like these. From the first notes of the opening song, Starfire, I was gushing with a big grin across my face. After finishing my first listen I went back to listen through an "old" favorite of mine that I'd almost forgotten, 2010's One-armed Bandit.
I love the band's self-written tome on their history on their Facebook page:
Jaga Jazzist is:
(a) A jazz band;
(b) A rock band;
(c) A progressive rock band;
(d) A hip hop group;
(e) A rap group;
(f) A reggae group;
(g) A polka band;
(h) A comedy band;
(i) An electronica group;
(j) A classical ensemble;
(k) A choral ensemble;
(l) All of the above;
(m) None of the above.
with the answer being (l) and (m). Obviously a gang who are out to have fun, pure and simple. But talented, too! As a matter of fact, I'm beginning to think that the entire population of Norway must be made up of really interesting, fun-loving, laid-back, happy-go-lucky people! I need to get there!
Anyway. Back to Starfire. (Can't believe I just missed JJ's North American tour!) The entire album plays out like some incredible soundtrack music, starting with the opening song, 1. "Starfire" (8:47), which sounds like the opening song from a light-hearted French murder mystery (yes: there is such a thing) from the 1970s. Nice syncopated rhythm making at a rather pleasant cruising speed with great guitar and tuned percussion work. There's even a cool MOTORPSYCHO sound & feel during the fifth and sixth minutes with the rising scale of musical progression. Then the odd synth melody/riffs take over for a while before the song mellows down for a brief bit with vibes before weaving all of the song's themes together for the final minute of awesomeness. (18/20)
2. "Big City Music" (14:07) opens by introducing us to its KLAUS SCHULZE-like electronica foundation--which sounds awesome--before the other keyboard and drums take over the establishment of the songs foundation. Sounds like LARRY FAST playing with BILLY COBHAM. At 2:46 the music breaks down to allow some hand drums and odd computer incidentals which establish a kind of odd rhythm before strummed guitar joins in. Then Martin Horntveth reenters with his jazz drumming for a bit before the song breaks down again to allow individual instruments to help fill a rather spacey, spacious soundscape--very OZRIC TENTACLES-like. A BLADE RUNNER-like moment at 6:30 opens the next section of the song as multiple melody lines are woven together for a minute. Another shift at 7:30 as vocals are used to mirror a new keyboard melody line--we are now into PAT METHENY GROUP territory, big time! A minute later everything shifts again, back to the opening electronica with some funky synth fuzz bass play, which is then joined by pizzicato strings play, again forming a weave of differently syncopated melodies into one fascinating tapestry of sound. The full band seems to come into play with a return to a PAT METHENY style of pulsing rhythm and sophistication. (27/30)
3. "Shinkansen" (7:43) is probably my favorite song on the album for the laid back groove set up and maintained throughout the song by the strumming acoustic guitars as well as due to the prominence of the flutes and myriad "windy" synth sounds. Just a gorgeous, breezy, Nature-celebrating song all around. (Shinkansen is, by the way, the word for Japan's network of high speed trains. How appropriate!) (15/15)
4. "Oban" (12:42) is also quite Asian/Japanese (think: "Ryuichi Sakamoto") sounding in its melodic and rhythmic approach--though the work of KRAFTWERK, GARY NUMAN, and PETER SCHILLING also comes to mind. Eventually, in the second half of the song, the sounds and stylings turn to sound more like early DEPECHE MODE--though the drumming always remains quite exceptionally a notch above any of the above mentioned. Mellow sax in the fourth minute is beautifully offset and accompanied by multiple other rhythm instruments and horns. Then a little slow down of delicate horns in the fifth minute makes way for an awesome display of electronica (OZRICS again) before the original ensemble return with the full weave of music--including choral vocals!
Another song that could work awesomely as a soundtrack. I personally would love to see this made into a video. In the tenth minute the DEPECHE MODE-like synth bass line is gorgeously offset by harp and strings melodies (slide guitar). Just an awesome song with so much to listen to! Every time I hear it I discover so much more than I had previously heard! Gorgeous little outro, too. (30/30)
5. "Prungen" (6:35) shows the band taking on some Arabian-like musical sounds and stylings. The song does, however, continue the amazing string of made-for-movies music that they have going here. The Arabian melodies become even stronger with wooden flute in the second minute and strings in the third. Sax in the third doubles up with the flute and then electric guitar takes up a variation of the theme while layer of layer fills the background tapestry. An Arabian "violin" joins in the melody making in the fourth minute until a scratchy saw-like horn synth takes over with a ROBERT FRIPP-like dissonant melody line. This dominates the song despite the rejoinder of the rest of the band and the addition of a horn section, until 5:45 when everybody falls into line, working with the original melody line. Great song though the use of that one "Arabian" melody line makes it a little less exciting as the previous songs. (8/10)
This is an awesome album of great mood pieces--all deserving of film soundtrack contracts. I'm not yet willing to give it full masterpiece status though I think it is, it's just a little at the edge of what I consider progressive rock music--which is really a good thing. It's like The Amazing or Five-Storey Ensemble: incredible music but perhaps not true progressive ROCK music. We'll see.
BUT: Check out the album! You will LOVE it! And if you want a little taste of the band in concert, try this: Oban live!
93.33 on the Fish scales = five stars; a minor masterpiece of refreshing progressive rock music.
7. CAMEMBERT Negative Toe (2017)
Strasbourg's eccentric and eclectic avant garde/RIO have produced a sequel to their 2011 "soundtrack" to an imaginary alien space invasion. The band has matured as both individual instrumentalists and as a cohesive collective. The sound engineering is amazing--one of the best I've ever heard--and the story and even the masterfully crafted music continues to employ an extraordinarily high degree of humour. I find myself laughing and crying within the same songs as we follow the latest installment of the alien Schnörgl's conspiratorial encounters with Earthlings.
Line-up / Musicians:
- Adrien Arnaud / trumpet, percussions
- Lela Frite / voice, invocations
- Guillaume Gravelin aka Harpus / harp
- Pierre Wawrzyniak aka W-Cheese / bass, accoustic guitar
- Juliette Blum / trombone, percussions
- Fabrice Toussaint aka Fab aka Slipman / drums, percussions, arrangements
- Valentin Metz / guitars, bass
- Clarissa Imperatore / vibraphone, xylophone, percussions
1. "Orteil négatif--Once Upon A Time In The Galax-cheese" (3:13) opening with a joyful, confident announcement of the band's incredible precision, new maturity, and sci-fi story to come, percussives and staccato syncopation introduce the story before the music fades into a low, ominous foundation for the eerie "radio" communications that follow (the Schnörgls have been encountered!).
Masterful intro! They've got my attention! (4.5/5)
2. "Fecondee par un extra-terrestre" (15:10) opens with 45 seconds of Zeuhl-like insistence before everything turns to a gentle Latin rhythm-based harp-based section. Cool! A minute later, it switches as other band members join in, then turns more jazzy as the horns join in during the third minute. Another shift at 3:30 presents an adorable and pretty "wuah" sound that sounds like a cute alien fart or baby burp (the birth of "El Pulpo").
When the band reunites in full force at the end of the fourth minute, it seems like the outburst is totally jovial, even celebratory. At the end of the sixth minute another shift employs long, deep bass notes, steady drums, electric guitar soloing (which is rare) and all kinds of horns and percussives interspersed. A minute later, things quite down while very delicate play from keys, xylophone, harp, and oboe (and later flutes) very slowly, very gradually build in force and volume. this is gorgeous! By the time 9:45 rolls around and the horns unite in sectional bursts we think it's culminating--but, no! Another lull while cymbals, touch-guitar chords and winds present yet another variation on the theme. This is amazing! The compositional and performance skills on display here are utterly inconceivable! Like an orchestral composition! At 12:30 there is another radical tempo and stylistic shift while woodwinds seem to be "tuning" in the background, the bass and rest of the rhythm section (which is HUGE!) gel into a very Zeuhl-like sound and style. Horns carry the melody forward while harp and vibes fast-weave beneath, just above the rhythm section. Amazing! (29/30)
3. "Gros Bouquin" (11:11) Opens with some full band chord hits before quickly settling into a funky-jazzy rhythmic sound for vibes and flutes to present a fast-paced melody. At 1:15 everything quiets down while flutes and other high winds present an airy space. Then we burst back into the bass-led Caribbean funk so that horns can have their solo time. Trumpet takes the lead for the next minute while bass and harp provide the steady foundation. Drums and multiple hand percussion play along though very much in a simplistic supporting role.
The song is supposed to represent a musical rendering of the process of extracting the sexual energy from rabbits in order to empower the Schnörgls' secret weapon, the Negative Toe. (17/20)
4. "The Lament Of Pr. Frankenschnörgl" (9:11) a slow, methodically-paced song with lots of space and lots of staccato notes produced in small, steadily paced packages from a wide variety of instruments including some from Oriental traditions. This one also has nicely arranged choral arrangements (sung in English!) professing the Schnörgl military scientist's doubts, regrets, and worries. Such a simple and pleasant song, this in great contrast to the frenzy of multiplicities that was song #2. A great display of control and restraint--both in composition and especially in performance. Mathematically I'm sure this song would be quite interesting to study. The final 90 seconds begin to exude some of the insistence of the Zeuhl world in both vocals and drums and bowed bass--and finishing off with a little crazed cacophony--which is a perfect lead-in to the next song. (18/20)
5. "Skwitch" (14:47) opens with multiple instruments contributing to a low end dominated, ominous opening. At the two-minute mark things quiet down--as if the protagonists are trying to hide or be unnoticed--while retaining the creepy tension from the opening. At 4:10 we again switch tempo while the same delicate instrumental weave re-establishes itself--this time with hand percussion, harp and vibes providing the filler. At the end of the sixth minute the music drops out leaving some very sparsely populated guitar, harp, bass, and creepy trumpet hits while a creepy monster-like human voice vocalizes noises not unlike those of the trumpet. Well into the eighth minute, the horn solo becomes far more "normal"--jazz-like--but then it is suddenly submitted to some very odd under-water-like muting effects (elephantine) while the rest of the band, formerly quiet and reserved, begin to rise up and "swallow" the trumpet within their methodic tapestry. At 9:57 everything stops. Silence. Then very syncopatedly-spaced staccato hits from a variety of instruments gives the sound and melody a stark, almost "disappearing" feel. Horns and harp allow for some feeling of return to occur. Boisterous bass-end bursts seem to be on the verge of disrupting all flow of the base-line tapestry--until they all merge at the beginning of the thirteenth minute. The final two minutes seem to be telling the story of the monster's demise and death.
Overall, this is a great mid-tempo song with frequent time changes and polyrhythmic weaving of the multiplicity of instruments. Something about the mood, melodies, and intricacies of this song make it my favorite--despite the fact that it's supposed to tell the story of the future destruction of one of my favorite places on Earth, la cathédrale de Strasbourg, by a cybernetic laboratory elephant. (28.5/30)
6. "El Pulpo" (3:19) oboe, guitar play out a sad melody over harp and bowed double bass before vibes and horns come in to present their antiphon of support. Then at 1:25, all music fades away. Empty space is then gradually invaded by low foghorn-like horn bursts while seaside sounds and human whistling and other pseudo animal sounds are disbursed throughout the soundscape. I guess it's supposed to be the cries of El Pulpo as he and his mother escape to South America by sea-going vessel. (4.5/5)
92.27 on the Fishscales = A-/five stars; a minor masterpiece of modern progressive rock--though this album feels as if it belongs more on the Avant Garde/RIO spectrum than the Zeuhl they were associated with in their previous album. Great to have Pierre and company back! And mega-kudos to the engineering/production team! AMAZING sound reproduction!
8. BILLY COBHAM Drum 'n' Voice, Vol. 4
Another collaboration with the Nicolosi family and Nicolosi productions yields some of the most enjoyable Jazz-Rock Fusion of the 20teens. After four very successful album releases from this team I am convinced that Billy + the Nicolosi family = the perfect team for 21st Century J-R Fusion.
Line-up / Musicians:
- Billy Cobham / drums
- Lino Nicolosi / guitars
- Pino Nicolosi / keyboards
- Rossana Nicolosi / bass
With:
- Brian Auger / Hammond organ (1)
- Eumir Deodato / keyboards (5)
- Frank Gambale / guitar (7)
- Stanley Jordan / guitar (8)
- Gregg Kofi Brown / lead vocals (3, 6, 9)
- Dora Nicolosi / lead vocals (5), background vocals (8)
- Olives Caleb / background vocals (9)
- Ruth Ellen / background vocals (9)
1. "Interactive" (5:18) a straightforward, fast-paced jazz-rock jam that features Brian Auger racing around the keys of his Hammond organ. Not a particularly fresh or interesting song. (8.6667/10)
2. "Psychologic" (4:40) sophisticated 21st Century Jazz-Rock Fusion that contains some creative synthesizer and synthesized guitar choices and inputs from Pino and Lino as well as as some awesome drumming from The One And Only. A wild space ride! (9.25/10)
3. "Ata y che" (4:59) the first song with vocals, here featuring the great Gregg Kofi Brown, as well as some great drum 'n' bass, Fender Rhodes, and synthesizer-produced horn banks. Too bad the rhythm track (from Billy, Rossana, and Lino) feels so solid and unchanging that it leaves me wondering if it's all the result of a computerized sequencer. (9.25/10)
4. "Raised" (4:49) another great groove whose bass line feels as if it was lifted from Boney James & Rick Braun's song "Chain Reaction." (9.25/10)
5. "The Vibe Inside" (4:27) another great groove with awesome performances from Lino, Pino, Rossana, and Dora. (It's always such a pleasure to hear Dora's lovely voice.) (9.333/10)
6. "Le lis" (radio vocal version) (3:56) a pleasant and melodic Smooth Jazz tune credited to Billy that turns into a vehicle for some Black ghetto vocals, this one feels quite deserving of radio play. Great vocal performance(s) from Gregg Kofi Brown as well as drum, bass, and Fender Rhodes play from Billy, Rossana, and Pino. (9.25/10)
7. "Over" (5:13) this Nicolosi song is a set up for some real sophisticated Jazz-Rock Fusion drum 'n' bass with some impressive if more rock-oriented lead guitar work from guest Frank Gambale. (9.125/10)
8. "Shining Sun" (6:01) more beautiful Jazz-Rock Fusion from the Nicolosi family that bridges the old (Bill Withers "Lovely Day" with guest Stanley Jordan performing his signature two-handed touch guitar play and some trip-hoppy 1990s drum 'n' low bass sounds) with some of the 21st Century's sounds and technical wizardry (coming mostly from Pino's computer-keyboard department). Quite enjoyable and melodic. (9.25/10)
9. "Superstar" (4:36) quite a different song for the album: a deep bassed, two-chord Trip-Hopped rap song from vocalist Gregg Kofi, Chris "Influence" Smith, and the Nicolosis. Quite powerful. (9.25/10)
10. "Le Lis" (5:13) an instrumental variation on the album's sixth song. Here Pino gets to really shine for the first two minutes while Rossana, Billy and Pino's Eumir Deodato-like Fender Rhodes chord play hold down an awesomely laid back and hypnotic "Smooth Jazz/Yacht Rock" groove. Then enter Lino for a long three minute solo on his guitar. Nice! Nice jam from the Nicolosi family--and a perfect/fitting end to this wonderful album. (9.25/10)
Total Time 50:22
Though the music here feels at times rather straightforward, one-dimensional (making me wonder how much of it is looped, programmed, and/or computer generated) there is no contesting the solid quality of the sound and the general amiability of all of the songs. There may not be as much of the flash that I love to see/hear from the Maestro, but the Nicolosi magic works so well on so many levels that I'm really not in any position to complain.
91.875 on the Fishscales = A-/five stars; another minor masterpiece of accessible and eminently enjoyable
9. KAMASI WASHINGTON The Epic (2015)
Jazz, but what an eclectic, all-encompassing, spiritually uplifting, orchestral form of jazz! And two full, FULL CDs of music. This is not just an album of modern Jazz-Rock Fusion, it is An Experience!
Volume 1 - "The Plan"
1-1. "Change Of The Guard" (12:16) the melodies and chord progressions are awesome; the sound is a little murky with too many disparate layers: it almost sounds as if three or four different dimensions or timelines are being played at once, layered one over the others. The tracks are all so differently treated: the thick strings & synths, the drums, the sax and horn section, the bass, the piano, and the choir all feel as if they occupy their own, separate universes! At the same time, the music and musicianship are absolutely lovely! Just the weirdest sonicsphere I've ever encountered. It reminds me a bit of the "holographic sound" that was featured through my first Carver amps and pre-amps back in the 1980s. (22.75/25)
1-2. "Askim" (12:35) drums, piano, percussion, and bass open this one before synths, trombones and sax join in to present the melodies. Thundercat takes the first solo on his signature six-string Ibanez piccolo bass. The strings/synth washes and choir chords start to join in during the fourth and fifth minutes. Around 4:40 T'cat stops soloing and the choir and strings disappear leaving the core jazz combo to support Kamasi on a sax solo. Despite the fact that K's sax is mixed rather far into the back of the sonic field, it is a nice solo. At 6:47 the choir and low-key strings begin to join in and make their ascent to crescendo behind K's intensifying solo, reaching full orgiastic peak at the eight-minute mark. What a peak! And then the appropriate release follows, which becomes fecund territory for Leon Mobley and the rhythmatists to show off a little. Beautiful. K rejoins at 9:20, leading a new slow-build barrage of trombones, trumpets. At 10:43 the main melody suddenly shifts into a Morse code-like rhythmic pumping of piano and horns while drummer Tony Austin goes off and the strings/synth-supported choir returns, this time given more clarity to their lyrics. Great song--especially the performance of Kamasi on his sax! (22.75/25)
1-3. "Isabelle" (12:13) a slower, more deliberate pace from organ and piano-led combo. The horn section enters breathing out gentle, sustained chords that slowly pick up in intensity. Kamasi's sax begins to step forward of the rest of the horns as Brandon Coleman's organ and Cameron Graves' piano begin to embellish quite a bit. There are two drummers on this song: Tony Austin in the right channel and Thundercat's brother, Ronald Bruner, in the left. In the fifth minute the music thins out leaving just bass, drums, and the keys. Brandon takes a solo with his synth-organ before Kamasi steps for a brief, low-key word. It's really trombonist Ryan Porter that gets the first true spotlight solo in the seventh minute--then Cameron in the eighth with his piano. The horns pick up with their long, slow, gentle note play in the tenth minute and the drummers respond by picking up their intensity for a bit. I love how constant Miles Mosley's double bass has been throughout. A real pleasure to listen to: so much one can pay attention to. (22.5/25)
2-2. "Leroy And Lanisha" (9:24) back to the "He's Misstra Know It All" theme from Volume One's "The Rhythm Changes" this time with piano, bass, and drums holding down Steveland's melodic rhythm track while Kamasi and trombonist Ryan Porter blow us away up top. Special props to Tony Austin for his exquisite drumming. Cameron Graves has a nice pseudo-DON PULLEN solo in the sixth and seventh minute but it's really, for me, Ryan Porter who is the shining star of this one with Kamasi performing the beautiful role of second fiddle. (18/20)
2-3. "Re Run" (8:20) beautiful orchestra (and choir) opening leading into a kind of Beatnick Flintstones motif--one that would satisfy a lot of African and 1950s and 60s jazz aficionados. The syncopated horn accents and unusually-tom-tom-dominant drum syncopation are the most prominent things about this song. Over the course of the first six minutes, Kamasi's tenor sax serves as the principal soloist and melody driver while synths, full choir, piano, and double bass provide most of the textural support. (17.875/20)
2-4. "Seven Prayers" (7:36) swirling piano play with two bass players, a second drummer, and, of course, Brandon Coleman providing the enriching electric keys, all infused with loosely-coordinated chords from multiple horned banks. It's the piano and basses that continue flying around their fretboards while the drums and horns provide very strong, fairly-slowly-progressing harmonized melodies to keep the music moving forward--albeit at a funereal pace. It feels so weird having the basses, drums, and piano just flying around--each/all in their own directions--beneath the dirge-like multi-horn melodies. Interesting--and impressive--but not really engaging. Like an attendee of a funeral procession, I feel respectfully distant, even disconnected. (13.25/15)
Volume 3 - "The Historic Repetition"
3-1. "Re Run Home" (14:06) a great funky groove opens this within which percussion and piano play creative yet texturized lines. At 1:10 a saxophone leads the entry of a horn section, which introduces themselves until 1:46 when they transition into a little chorus melody before returning to their main motif and then clearing out early in the third minute for Kamasi to take the first solo. I love his continuous play while playing off of and subtly responding to the motif changes beneath him. At 4:20 K steps back and lets his lead trombonist (Ryan Porter) and trumpeter (Igmar Thomas) enact a duel over the next two rounds of the main motifs. They really get into it, trying to top one another for over three minutes! Then it's the rhythm section's turn: the two drummers, two bassists, two keyboardists, and percussionist Leon Mobley showing off in turns with Thundercat first, Leon second, Brandon Coleman's wonderful clavinet next and then the drummers while Cameron Graves accents everybody with his gorgeous piano chords. At the end of the 11th minute everybody comes back together behind the horn section though spirits are high and everybody seems to be enjoying expressing themselves extra hard. It's amazing that there are no guitars present here cuz the "rhythm guitar" play of the keyboards is so like guitars. I love the two bassists, two drummers, and two keyboardists each distinguishing themselves behind a simple Kamasi solo toward the end: each playing very carefully off of one another. Wonderful song! Great groove and GREAT whole band interplay! (29.5/30)
3-2. "Cherokee" (8:14) interesting with organ and electric piano and bluesy horns lead the "simple" lineup (all single instrumentalists) beneath singer Patrice Quinn's sultry (Ella Fitzgerald-like) singing. The Stevie Wonder-like beat and construct sounds so modern but the sound palette sounds so old ("classic"--like from the 1940s or 50s). Highly engaging and enjoyable--and memorable. Definitely destined to be a fan favorite in concert. (14.375/15)
Total Time 50:22
Though the music here feels at times rather straightforward, one-dimensional (making me wonder how much of it is looped, programmed, and/or computer generated) there is no contesting the solid quality of the sound and the general amiability of all of the songs. There may not be as much of the flash that I love to see/hear from the Maestro, but the Nicolosi magic works so well on so many levels that I'm really not in any position to complain.
91.875 on the Fishscales = A-/five stars; another minor masterpiece of accessible and eminently enjoyable
"Smooth" Jazz-Rock Fusion from the ever-successful Cobham-Nicolosi collaboration!
9. KAMASI WASHINGTON The Epic (2015)
Jazz, but what an eclectic, all-encompassing, spiritually uplifting, orchestral form of jazz! And two full, FULL CDs of music. This is not just an album of modern Jazz-Rock Fusion, it is An Experience!
Line-up / Musicians:
- Kamasi Washington / tenor saxophone
- Miles Mosley / acoustic bass; electric bass (3-1)
- Tony Austin / drums; (right channel: 1-6, 2-6, 3-4, 3-5)
- Cameron Graves / piano, organ
- Brandon Coleman / keyboards, organ
With:
- Stephen ("Thundercat") Bruner / electric bass (1-1, 1-2, 1-5, 1-6, 2-1, 2-4, 2-6, 3-1, 3-5)
- Leon Mobley / percussion (1-2, 1-3, 1-4, 2-2, 2-3, 2-4, 3-1, 3-5)
- Ronald Bruner / drums (1-3, 2-4, 2-5); (left channel: 1-6, 2-6, 3-4, 3-5)
- Patrice Quinn / lead vocals (1-6, 2-5)
- Robert Miller / drums (3-2)
And:
- trumpets: Igmar Thomas, Todd Simon
- trombones: Ryan Porter, Shaunte Palmer
- violins: Jennifer Simone, Lucia Micarelli, Neel Hammond, Paul Cartwright, Tylana Renga Enamoto
- violas: Andrea Whitt, Molly Rodgers
- cellos: Artyom Manukyan, Ginger Murphy
- vocals: Dwight Trible, Patrice Quinn
- Choir [choir vocals]: Cameron Graves, Charles Jones, Dawn Norfleet, Dexter Story, Dwight Trible, Gina Manziello, Jason Morales , Maiya Sykes, Natasha F Agrama , Patrice Quinn, Steven Wayne , Taylor Graves , Thalma de Freitas, Tracy Carter
1-1. "Change Of The Guard" (12:16) the melodies and chord progressions are awesome; the sound is a little murky with too many disparate layers: it almost sounds as if three or four different dimensions or timelines are being played at once, layered one over the others. The tracks are all so differently treated: the thick strings & synths, the drums, the sax and horn section, the bass, the piano, and the choir all feel as if they occupy their own, separate universes! At the same time, the music and musicianship are absolutely lovely! Just the weirdest sonicsphere I've ever encountered. It reminds me a bit of the "holographic sound" that was featured through my first Carver amps and pre-amps back in the 1980s. (22.75/25)
1-2. "Askim" (12:35) drums, piano, percussion, and bass open this one before synths, trombones and sax join in to present the melodies. Thundercat takes the first solo on his signature six-string Ibanez piccolo bass. The strings/synth washes and choir chords start to join in during the fourth and fifth minutes. Around 4:40 T'cat stops soloing and the choir and strings disappear leaving the core jazz combo to support Kamasi on a sax solo. Despite the fact that K's sax is mixed rather far into the back of the sonic field, it is a nice solo. At 6:47 the choir and low-key strings begin to join in and make their ascent to crescendo behind K's intensifying solo, reaching full orgiastic peak at the eight-minute mark. What a peak! And then the appropriate release follows, which becomes fecund territory for Leon Mobley and the rhythmatists to show off a little. Beautiful. K rejoins at 9:20, leading a new slow-build barrage of trombones, trumpets. At 10:43 the main melody suddenly shifts into a Morse code-like rhythmic pumping of piano and horns while drummer Tony Austin goes off and the strings/synth-supported choir returns, this time given more clarity to their lyrics. Great song--especially the performance of Kamasi on his sax! (22.75/25)
1-3. "Isabelle" (12:13) a slower, more deliberate pace from organ and piano-led combo. The horn section enters breathing out gentle, sustained chords that slowly pick up in intensity. Kamasi's sax begins to step forward of the rest of the horns as Brandon Coleman's organ and Cameron Graves' piano begin to embellish quite a bit. There are two drummers on this song: Tony Austin in the right channel and Thundercat's brother, Ronald Bruner, in the left. In the fifth minute the music thins out leaving just bass, drums, and the keys. Brandon takes a solo with his synth-organ before Kamasi steps for a brief, low-key word. It's really trombonist Ryan Porter that gets the first true spotlight solo in the seventh minute--then Cameron in the eighth with his piano. The horns pick up with their long, slow, gentle note play in the tenth minute and the drummers respond by picking up their intensity for a bit. I love how constant Miles Mosley's double bass has been throughout. A real pleasure to listen to: so much one can pay attention to. (22.5/25)
1-4. "Final Thought" (6:32) old sixties-like organ play opens this one before piano steps in with a chord pattern that invites drums, percussion, bass, and horns into play. The horns are the leaders of melody creation though the rhythm section is right there with support with every note. Organ takes the first solo as the horns drop away. This allows the drums, bass and percussion far more exposure--which is nice. there's still a lot going on with just the keys and rhythm section. Kamasi steps up at the end of the third minute to offer his preacher-like spirited commentary. He's quite theatric. Again, it seems that his talent as exhibited here and elsewhere shows why he is the leader and namesake of this band: when he plays, he definitely grabs your attention--almost undividedly. A brilliant display of composition rendered even better by the talent of the performers. (9/10)
1-5. "The Next Step" (14:49) horns open this with long, perfectly-coordinated harmonies dictating a lovely melody line as piano, drums (two again), and basses (two) step in line and richly support. The strings-enhanced choir also joins in with lovely bank of "aaah"s--organ, too. When choir desists, strings remain and strengthen their presence. Near the end of the third minute Kamasi steps forward to solo, behind which Thundercat and Brandon Coleman support playfully. Then Cameron Graves piano and MIles Mobley's double bass become K's greatest supporter--then strings, choir, and synths as K soars in the fifth minute, reaching a sustained peak in the sixth and then repeating such hubristic heights in the seventh. Such a master of manipulating us through his music! Kamasi achieves through his music the licentious effects we normally attribute to Post Rock artists, only Kamasi's music has heart and soul while the music of most Post Rock artists often feels rather sterile, cerebral, and contrived. Thankfully, he usually allows a lot recovery time on the other side of his rapturous climaxes--here a nice long five minutes of cuddle time. (27/30)
1-6. "The Rhythm Changes" (7:44) sounding from bottom to top a lot like STEVIE WONDER's "He's Misstra Know It All," organ, rhythm section, and lead singer Patrice Quinn open this one. 90 seconds in, the delightful chorus is the first time that the song distinguishes itself as something wholly original. The ensuing instrumental section offers three minutes of rotating brief solos: seemingly from everybody! Then Patrice and the horn section, strings, and choir all join back in to carry the song to its conclusion (with the usual slow build of intensity). Nice. (13.33333/15)
Fishscales rating for Volume 1 = 90.26
Volume 2 - "The Glorious Tale"
2-1. "Miss Understanding" (8:46) I just love how Kamasi has directed a band/orchestra to incorporate the big dynamics of late Post Bop and early Jazz-Rock Fusion with vocals and synths that conjure up Marvin Gaye's seminal What's Going On album. Once the wonderfully-explosive intro is laid down after 90 seconds or more, the jazz combo band suddenly rockets out of the gates with one heck of a race around the the Grand Prix horse track that is the hood in Oakland/Harlem/Woodward Ave./South on Lakeshore Drive. Besides Kamasi's exquisite work, the song is highlighted by that tight rhythm section (props to Brandon and Cameron) and the bowed double bass by Miles Mobley. (18.75/20)
2-1. "Miss Understanding" (8:46) I just love how Kamasi has directed a band/orchestra to incorporate the big dynamics of late Post Bop and early Jazz-Rock Fusion with vocals and synths that conjure up Marvin Gaye's seminal What's Going On album. Once the wonderfully-explosive intro is laid down after 90 seconds or more, the jazz combo band suddenly rockets out of the gates with one heck of a race around the the Grand Prix horse track that is the hood in Oakland/Harlem/Woodward Ave./South on Lakeshore Drive. Besides Kamasi's exquisite work, the song is highlighted by that tight rhythm section (props to Brandon and Cameron) and the bowed double bass by Miles Mobley. (18.75/20)
2-2. "Leroy And Lanisha" (9:24) back to the "He's Misstra Know It All" theme from Volume One's "The Rhythm Changes" this time with piano, bass, and drums holding down Steveland's melodic rhythm track while Kamasi and trombonist Ryan Porter blow us away up top. Special props to Tony Austin for his exquisite drumming. Cameron Graves has a nice pseudo-DON PULLEN solo in the sixth and seventh minute but it's really, for me, Ryan Porter who is the shining star of this one with Kamasi performing the beautiful role of second fiddle. (18/20)
2-3. "Re Run" (8:20) beautiful orchestra (and choir) opening leading into a kind of Beatnick Flintstones motif--one that would satisfy a lot of African and 1950s and 60s jazz aficionados. The syncopated horn accents and unusually-tom-tom-dominant drum syncopation are the most prominent things about this song. Over the course of the first six minutes, Kamasi's tenor sax serves as the principal soloist and melody driver while synths, full choir, piano, and double bass provide most of the textural support. (17.875/20)
2-5. "Henrietta Our Hero" (7:14) a song that definitely evokes familiarity to the wonderful stage musical of Burt Bacharach and Hal David, Promises, Promises--and even Alfie. Vocals by the full choir with Patrice Quinn in the lead are strong and very audience-engaging--as is the multi-faceted music beneath them--which is deceptive for its slow moving pace in its core but super busy in its multi-level instrumental performances going on around the basic rhythm track. Again we find drummer Ronald Bruner really going hog-wild beneath all of the smoothness up top, while Mike Mosely tries to temper Ronald's fury with something in between from his bass. I like this song though it never feels like a musical's "power ballad" more like one of those songs given to the secondary characters to enrich the story from the beneath or beside the threads of the principal characters (and their themes). Still, a great feeling to experience--especially with my particular reverent affinity to the Bacharach-David catalogue. (13.375/15)
2-6. "The Magnificent 7" (12:46) more great familiar melody-making over frenetic drumming and glue-providing bass performances (two drummers and two bass players). The wordless choir vocals also help keep the whole glued together while Kamasi feeds off of the pace and energy of his rhythmatists with his dynamic and melodic tenor sax. Though a song that feels like a jam, there are enough great melodies and just enough structure to keep me from labeling this as "free jazz" or "third stream" stuff. I like the more-sparsely-populated seventh minute in which the horns and choir drop out, providing a clean canvas for Cameron Graves to paint some beautiful piano movement--and man! does he race around those ivories: tinkling them with a speed the most agile of mice would be proud of! The rest of the instrumental palette rejoin while Cameron continues flying up and down the keyboard. In the tenth minute he finally leaps off of his keys, leaving another quiet gap which is soon filled by the intrepid of Stephen "Thundercat" Bruner's bass runs. In the twelfth minute Kamasi reasserts leadership: while the drummers (and Cameron) go wild beneath he and his steady horn and choir steady the flow with their melodic punctuation marks. Et puis, finis! It's over! Wow! What a ride! (22.75/25)
Fishscales rating for Volume 2 = 90.43
Volume 3 - "The Historic Repetition"
3-1. "Re Run Home" (14:06) a great funky groove opens this within which percussion and piano play creative yet texturized lines. At 1:10 a saxophone leads the entry of a horn section, which introduces themselves until 1:46 when they transition into a little chorus melody before returning to their main motif and then clearing out early in the third minute for Kamasi to take the first solo. I love his continuous play while playing off of and subtly responding to the motif changes beneath him. At 4:20 K steps back and lets his lead trombonist (Ryan Porter) and trumpeter (Igmar Thomas) enact a duel over the next two rounds of the main motifs. They really get into it, trying to top one another for over three minutes! Then it's the rhythm section's turn: the two drummers, two bassists, two keyboardists, and percussionist Leon Mobley showing off in turns with Thundercat first, Leon second, Brandon Coleman's wonderful clavinet next and then the drummers while Cameron Graves accents everybody with his gorgeous piano chords. At the end of the 11th minute everybody comes back together behind the horn section though spirits are high and everybody seems to be enjoying expressing themselves extra hard. It's amazing that there are no guitars present here cuz the "rhythm guitar" play of the keyboards is so like guitars. I love the two bassists, two drummers, and two keyboardists each distinguishing themselves behind a simple Kamasi solo toward the end: each playing very carefully off of one another. Wonderful song! Great groove and GREAT whole band interplay! (29.5/30)
3-2. "Cherokee" (8:14) interesting with organ and electric piano and bluesy horns lead the "simple" lineup (all single instrumentalists) beneath singer Patrice Quinn's sultry (Ella Fitzgerald-like) singing. The Stevie Wonder-like beat and construct sounds so modern but the sound palette sounds so old ("classic"--like from the 1940s or 50s). Highly engaging and enjoyable--and memorable. Definitely destined to be a fan favorite in concert. (14.375/15)
3-3. "Clair De Lune" (11:08) as advertized, this is the Debussy classic--and starts out just so with 55 seconds of Cameron Grave's piano performance exacting the original. But, then double bass, drums, organ and New Orleans lazy horns join in to carry a drawling version of the main melody forward--with plenty of dirge-like N.O. support. At 2:30 there is the perspicacious bridge before returning to the slow funereal march. In the early fifth minute Ryan Porter's trombone takes a solo. Choral voices and strings enter behind him, enriching things, elevating the listener into heavenly realms, before Kamasi and Cameron Graves take turns in the lead position. Mike Mosely, cellos, and Brandon Coleman get turns as well while Cameron's piano continues to soar and embellish somewhere in the middle. In the middle of the ninth minute there is another one of those stopping points in which the rhythm section slows but horns and Cameron's soaring and diving piano runs continue, but then everybody comes back together for another modest take on the opening dirge (sans choir and orchestra) before yielding to a bookend of Cameron's faithful performance of the original piano version of Debussy's song. Kind of cool though I'm not sure I really ever saw this as a New Orleans funeral march like Kamasi and (17.75/20)
3-4. "Malcolm's Theme" (8:41) Dwight Trible and Patrice Quinn take the lead vocal of this classic Terence Blanchard/Ossie Davis tune on as a duet above Kamasi's jazz big band. Kamasi's sax solo in the third minute is quite passionate--compelling his band to rise to a fervor that I'm not even sure they thought they were capable of! And then Dwight and Patrice return at the end of the fifth minute to lead us back into the reverent lyrics. The dual drummers really account for themselves on this one while the spirited jam that starts with the sixth minute unleashes emotions and performances from both Dwight and Patrice that, again, I'm not even sure they knew they were capable of--then the music gets pushed back to allow for the broadcast of a track of a Malcom X's speech. Beneath it all it sounds as if each of the musicians is letting loose of some long pent-up energy--the energy borne of suppression and frustration. The whole production sounds like something more than a gospel church performance, more than a Baptist tent revival; it sounds like a cathartic release, perhaps even VERY powerful! (18.875/20)
3-5. "The Message" (11:09) This song feels like a finishing song: the final expression of release and joy at having travelled through so much to get to this point: it seems as if everybody gets a turn or an outlet to let ever last bit of pent up energy fly. There are great solos, great performances, of great power and skill on display from start to finish on this very dynamic tune. At the end I think everyone can walk away knowing that they've given their all and given their best (including the listener). (18.25/20)
Fishscales rating for Volume 3 = 94.05
If ever I heard an album that made the case for Stevie Wonder being a jazz composer, this would be that one! So many elements of so many of these songs feel as if they are inspired and informed by Stevie. And yet Kamasi seems to be channelling so many of the greats--and not just channelling but offering deeply respectful, event reverent homage to them. The genius of his vision is astounding. And inspiring.
91.58 on the Fishscales = A-/five stars; a minor masterpiece of Neo Big Band Jazz-Rock Fusion from not only a true visionary of modern jazz music but a collector and protector of all Black musics that came before him.
10. ACCORDO DEI CONTRARI Violato intatto (2017)
MellotronStorm reviewed this album in November or December, proclaiming it to be his front-runner for Album of the Year, so I knew that I had to give it a serious chance. Despite being initially turned off by the opening song, I'm glad I continued to give it a chance. This is definitely one of the most creative and complex albums I've encountered all year--and this with the loss of their former bass player! Well done!
Line-up / Musicians:
- Giovanni Parmeggiani / electric organ, Fender Rhodes, Minimoog, Arp Odissey
- Stefano Radaelli / alto and baritone sax, bowed zither
- Marco Marzo Maracas / electric and acoustic guitar
- Cristian Franchi / drums
With:
- Alessandro Bonetti (Deus ex Machina) / violin (4)
- Gabriele di Giulio / tenor sax (1, 10)
- Patrizia Urbani / vocals (6)
1. "Folia Saxifraga" (4:27) opens with a full-frontal bang right into a fast-paced SEVEN IMPALE-like jam. Sax solo at 2"40 is clearly jazz while the organ and odd-tempo rhythm section beneath gets louder and more insistent. (So Seven Impale-ish!) A little too long in the extension of the repetitive sections and too dissonant from the sax. My bad. (8/10)
2. "Monodia" (6:38) opens with some really cool muted bass organ notes before bursting into a kind of VDGG/SEVEN IMPALE sound--sax and all. After the long introductory period (almost two minutes) we settle into a off-beat organ-arpeggio-led section over which electric guitar solos. In the fourth minute organ does a little solo, too, before sax takes a turn. It's very cool when multiple horns and organ start playing a gorgeous jazz melody together. Amazing! Now THIS is progressive rock music as it should be! In the fifth minute things scale back to a kind of "Watcher in the Skies" fast-pulsing non-straight-time beat before things amp up with the whole band getting into a weave. Awesome song! One of the album's best! (9.75/10)
3. "Blue-S" (5:43) harkens back to some old blues rock styles and chord progressions from the 1960s--only with the trick of placing it all within an odd time signature--like "Peter Gunn" with a bluesier, off-tempo, more difficult composition. Not my favorite but kudos for creativity. (8.5/10)
4. "Shamash" (8:07) opens with more experimental sounds--this time crazily distorted and fast-echoed, slow decayed electric guitar chords. At the two minute mark the sound experiments end and we enter into another complex, odd-timed CRIMSONIAN song with distorted electric guitar and then distorted violin solos above the rhythm section though within the music. There is a lot of BLACK SABBATH/URIAH HEEP-like organ hidden deep within the sounds of these songs. The song shifts and the violin gets let loose--soaring and then returning to the fold, over and over again. This is awesome! Then, at 5:43, everything cuts away and the opening effect returns but modified slightly to comport the single-note play of the guitar. Then there is an odd fade out at 6:18 before the band returns en force with what feels and sounds like a completely different sound (and song!) (13.5/15)
5. "Idios Cosmos" (6:20) jazzy solo sax playing chromatic scaled arpeggi opens this one before alternating for the first minute with full band entries and exits. Then a spacey, almost MAHAVISHNU or NOVA-like spacey, all-instrument tuning and warming up section ensues. At 2:15 a new structure starts up, again KING CRIMSON is the only band I can compare this sound with as there are smooth elements contrasted with jagged, angular sounds and stylings, perhaps even playing in polyrhythms. The drumming here is really cool--beautiful cymbal sounds. At 4:05 there is yet another cut out, space out, and freak out before the sax begins to peak its head into the mix. It takes a
full minute, however, for the space synths to be subdued by the sax. The final half minute is the full band playing together. Interesting. I understand conceptually and technically what they are doing. I'm just not as fond of this for a "repeat/replay" song. (8.75/10)
6. "E verde è l'ignoto su cui corri" (7:15) guitar and organ take turns laying down some nice, delicate arpeggi with some interspersal of light drums and bass (from the organ and guitar) before female vocals enter (singing in English--in a kind of ELAINE DI FALCO way). Against a pretty weave of picked acoustic and electric guitars Patrizia's voice is multi-tracked within the non-standard scale GENESIS-like guitar picking weave. Enter electric piano-sounding organ and we have a gorgeous classic GENESIS-like weave. Truly beautiful in a tributional though entirely original way. And it's extended for a nice length of time--to the end of the song! Wow! Was that unexpected and delightful! Definitely one of my top three songs for this album. (15/15)
7. "Marienkirche" (3:40) heavily treated/sound-manipulated bells, human voices, and percussives--perhaps even a looped treatment of a recording of some German church bells (I know there was a wonderful Marienkirche in München.) But wait! Isn't this the domain of fellow Italian sound engineer Stefano Musso?!?!?! (I love it!) (9/10)
8. "Di eccezione in variante" (7:23) opens with an electric guitar arpeggio played against its own echo before drums and Fender Rhodes and organ join in. At 1:10 the rest of the band gels into a cohesive unit around the separately established melody lines (polyphonic?) of the guitar, organ bass line, and drums. Then, in the third minute, a new way of expressing the weave congeals into a collective weave--all members performing within the same universe. At 3:38 the heavily distorted sax-sounding electric guitar wails into the scene above rhythm section and organ. This goes on for a full minute before things take a turn and then shut down. Empty space is filled by the electric piano starting up its melody line, all by itself, before the rest of the band joins in with a heaviness provided by sax and electric guitar power chords. Again, these are not your typical melody chords, they are chromatic in the typical YUGEN and KING CRIMSON fashion. (13.5/15)
9. "Ulis" (6:38) another wonderfully keyboard-based song of odd tempos which lets the alto sax and baritone sax bass lines create the melody for the first two minutes. Electric piano chords signal an upcoming shift, eased by the disappearance of the sax and bass organ arpeggi. Guitar and electric piano take over the lead weave before dual sax lines and organ re-enter and take it back. At 3:33 there is a settling into a rhythm with some nice electric piano support chords while the alto sax takes off in a true jazz improvisational solo. At 4:30, things cut again while a slow weave of cymbals, spacey sax and guitar play our over a base of steady electric piano arpeggi. (9/10)
10. "Eros vs Anteros" (10:02) opens with a little Latin/Spanish/Santana-like melody riff played repeatedly for the first 30 seconds before a little lull allows the entrance and rise of a low-end Moog-like synth bass line to establish itself in the foreground. Soloing electric guitar wails away during most of this while the flangey bass synth seems to keep drawing my attention. I expect to find some African American bass player from the 1970s credited with this bass synth play. The guitar solo is long and at times unexceptional but gets stronger by the end. At 3:25 things shift dramatically leaving a JC Superstar-like arpeggiated bass line to lead us through a long swirling organ solo. Actually quite an awesome section. This continues till 5:50 when things shift, almost feeling like an intro to a 60s rock song, before the band returns to another variation of the original Latin melody riff. This allows a window for the drummer to show off his creative chops until 7:50. The next section has a kind of "White Rabbit" melody-chord progression to it. The final minute is left to a lone soloing steel-string acoustic guitar. Kind of Ry Cooder-like. Great stuff. Very creative. One of the best prog epics of 2017! (19/20)
11. "Il violato intatto" (7:08) opens with fast-paced electric piano arpeggio repeated over and over while bass pedals, organ and guitar eventually creep into the mix. When the piano eventually shifts its octave and doubles up, the rest of the band fades out and then comes back with a different weave. In the fourth minute an old-sounding synthesizer joins in and plays some subtle soloing over the course of the next minute. Ominous, heavy group play beneath the electric piano fills out ninety seconds of the final two minutes, while solo sax plays alone, against its echoed self, for the final 30 seconds. A top three song for me. (14.25/15)
91.43 on the Fishcsales = A-/five stars; a minor masterpiece of complex, boundary-pushing progressive rock music--the goal that all progressive rock musicians should strive for.
11. CAMEMBERT Schnörgl Attahk (2011)
Wow! AltrOck Productions just can't miss! Yugen, Ciccada, SKE, Kurai, and now Camembert! Music is alive and well, people! And with great production all around! Refreshing, mesmerizing and, in the case of Schnörgl Attahk, humorous and upbeat. Horns, harps and tuned percussion all jamming with and off of one another! This is one group I want to see live! Haven't been back to Strasbourg since 1979 but, who knows? Maybe in the next couple of years?!
Line-up / Musicians:
- Vincent Sexauer / electric guitar
- Bertrand Eber / trumpet, didgeridoo (4), cowbell (7,8), voices (3,6-8), whistle (3)
- Fabrice Toussaint / tenor trombone, xybraphone, congas, tam-tam, triangle, percussion
- Guillaume Gravelin / harp
- Pierre Wawrzyniak / bass, acoustic guitar (4), voices (6,8)
- Philémon Walter / drums
With:
- Francesco Zago / electric guitar (3)
- Julien Travelletti / bass trombone (3,5,7,8), tuba (7)
- Bertrand Eber / trumpet, didgeridoo (4), cowbell (7,8), voices (3,6-8), whistle (3)
- Fabrice Toussaint / tenor trombone, xybraphone, congas, tam-tam, triangle, percussion
- Guillaume Gravelin / harp
- Pierre Wawrzyniak / bass, acoustic guitar (4), voices (6,8)
- Philémon Walter / drums
With:
- Francesco Zago / electric guitar (3)
- Julien Travelletti / bass trombone (3,5,7,8), tuba (7)
1. "Infinicheese" (1:35) (5/5)
2. "Clacos Zero" (0:35) (5/5)
3. "Untung Untungan" (11:13) a perfect song of accessible, dynamically interesting avant garde/RIO music. (20/20)
4. "Clacos 1: Notre Mêre à Tous" (1:58) (5/5)
5. "El Ruotuav Ed Sram" (8:16) (20/20)
6. "Clacos 2: Die Experimente Von Dr F Frankenschnörgl" (0:48) (5/5)
7. "Le Meurtrier Volant" (9:01) (18/20)
- La Danse du Chameau (17:51) Unfortunately, the 5-part suite which ends the album, entitled "La danse du Chameau" doesn't succeed in conveying or evoking this same response. (Plodding like the camel for which it is named, the perfect harmony of "The Vulture of Mars" and "Le meurtrier volant" seems long past.) (32/40):
2. "Clacos Zero" (0:35) (5/5)
3. "Untung Untungan" (11:13) a perfect song of accessible, dynamically interesting avant garde/RIO music. (20/20)
4. "Clacos 1: Notre Mêre à Tous" (1:58) (5/5)
5. "El Ruotuav Ed Sram" (8:16) (20/20)
6. "Clacos 2: Die Experimente Von Dr F Frankenschnörgl" (0:48) (5/5)
7. "Le Meurtrier Volant" (9:01) (18/20)
- La Danse du Chameau (17:51) Unfortunately, the 5-part suite which ends the album, entitled "La danse du Chameau" doesn't succeed in conveying or evoking this same response. (Plodding like the camel for which it is named, the perfect harmony of "The Vulture of Mars" and "Le meurtrier volant" seems long past.) (32/40):
8. "Batifolade" (5:29)
9. "Soif!" (1:17)
10. "La Tempête De Sable" (4:51)
11. "Rêveries Lubriques Sous Une Dune" (1:09)
12. "The Final Run" (5:01)
Total time 51:13
9. "Soif!" (1:17)
10. "La Tempête De Sable" (4:51)
11. "Rêveries Lubriques Sous Une Dune" (1:09)
12. "The Final Run" (5:01)
Total time 51:13
The transitional songs ("Clacos Zéro," Clacos 1" et "Clacos 2") are excellent (and often quite funny!) but the big monsters [e.g. "Untung Untungen", "El ruotuav edsraM", et "Le meurtrier volant"] are incroyable! I listen to "Untung" and "ruotuav" (Vulture from Mars) over and over and find my body and spirit reacting quite the same way I did upon first hearing MAGMA's MDK a few years ago: avec une danse joyeuse, sauvage et frénétique! It is wonderful! The pause at the halfway mark in "Untung" is so startling and such a letdown, yet it's so exciting when the music returns and builds and builds, jelling and spiraling its way in perfect collaboration up and then down to a stop--it's just like a rollercoaster ride! And one can just feel the morose, Poe-like tension of "Le meurtrier."
In the vein of its inspirateur, GONG, the band puts forth some jazzy jams, but, also like GONG, IMHO, the jamming seems a bit pointless--or ecstatic and masturbatory--depending on one's psycho-neuro-chemical state. For some reason, the band seems to have mostly abandoned the wonderful collective weaves of the amazing first 30 minutes of the album. Too bad. That was quite a ride!
91.30 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. Sheer freshness, enjoyability, and perfect sound production of its compositions.
12. BIG BAD WOLF Pond Life (2017)
Awesome new jazzy math rock from the UK featuring creative, virtuosic guitar play from Rob Luft and trombone as the lead instrument! Who knew the trombone could be this versatile?! Such refreshing music! The vocalist has a really nice timbre and style that reminds me of either Michael FRANKS or ARTO LINDSAY.
Line-up / Musicians:
- Owen Dawson / trombone
- Michael De Souza / bass VI
- Rob Luft / guitar
- Jay Davis / drums
1. "Canary" (5:16) opens the album with staccato guitar picking and trombone notes with bass line and uptempo drum play. Eventually, some structure is established in a kind of rondo of themes and weaves. Really nice interplay and synchronization. Trombone and guitar chord-play take turns spitting out lead melodies--sometimes at the same time, but more often alternating. Cool effect! Treated vocals enter with a chunky bass. Love the lead vocalist's voice. (8.5/10)
2. "Flats In Dagenham" (6:08) opens with a slow beat and immediate trombone solo melody with strummed acoustic guitar, bass, and drums. It sounds just like it could be a jazz cover of an R&B pop song from the seventies. If only Freddie Hubbard had been this creative! I love the long slow-decay pause in the second half. Then things pick back up with some amazing guitar work that would leave even the great Adrian Belew smiling--big time! My favorite song on the album. (9.5/10)
3. "Frog" (6:14) such a GREAT sound from the opening notes of background "keyboards" (which I'm assuming are guitar). This one has a lot of similarities to the sounds of Japanese Post Rockers, TOE. Awesome song. A top three, for sure. (9.5/10)
4. "Quiet Coach" (9:16) opens as a beautiful, sensitive and melodic song with the subdued trombone taking the lead for the first two minutes. Then WES MONTGOMERY-like jazz guitar chord play takes over the lead. Vocals entering reminding me of the music of FROGG CAFÉ. Nice. Still sensitive and nostalgic, even rhapsodic. My other top three song. (19/20)
5. "Hopkins' Choice" (4:32) this one has more of a true Math Rock feel to it, though it gets jazzier at the two minute mark. Bouncy and upbeat with some very nice multi-level guitar work in the fourth minute. (8.5/10)
6. "Grassfish" (7:28) guitar effects and rolling tom work remind me of DAVID SYLVIAN with the lead trombone giving it a MARK ISHAM/FROGG CAFÉ feel and sound. A cool MERCURY TREE-like vocal ensues in the second minute. The fourth minute sees a slide into a vocal-backed guitar exposition with a lot of long arpeggi. Then a "heavier" more fast-paced section takes over in a very Math Rock structure. Excellent lead guitar work from here out. Acoustic guitar work in the final minute is a surprise. (13.5/15)
7. "Pond Life" (6:02) the stop and start beginning is interesting before sustained trombone notes, arpeggiated guitar picking, and continuous bass line take over. A very math rock-oriented song ensues, despite shifts. For some reason, I'm reminded of both the EVAPTORIA REPORT and ALGERNON as well as TOE. again with this song. Again, great guitar play in the fourth minute. DAVID TORN-like atmospheric guitar play accompanying the trombone in the fifth minute before a tight weave of staccato bass, drums and guitar support the trombone (and, later, voices) in melody. Nice song. (9/10)
8. "The Plight Of The Typewriter" (7:42) a moderately paced song with syncopated flow and mathematically-oriented construct that is peppered with really nice melodies. Has a bit of a HIROMI feel to it. Love the screaching background guitar in the fourth minute. More DAVID TORN-like guitar with sensitive, carefully synchronized bass and drum play. Trombone re-enters with multiple guitar tracks wailing away. Nice! These guys are for real! (13.5/15)
Total Time 52:38
91.0 on the Fishscales = A-/five stars; a refreshing new minor masterpiece of jazz-oriented Math Rock music. Mega kudos, boys! I greatly look forward to following your future work, both individually and collaboratively (should that continue).
13. DOMINA CATRINA LEE Songs from the Breastbone Drum (2010)
In the great tradition of OREGON, SHAKTI, RY KOODER, and PAT METHENY, Domina Catrina Lee offers up some incredible fusion of jazz and rock using her guitar and a computer program (MIDI Just Intonation) to midi perform and program a full array of instruments representative of the jazz, classical and world music traditions. This is an absolutely gorgeous, emotional, intellectual, and astounding musical accomplishment. It simply must be heard to be believed and appreciated.
1. "Songs from the Breastbone Drum" (6:28) is a gorgeous introduction to the supreme composition and performance talents of Here using acoustic guitar, oboe, piano and drums/tabla/percussion to showcase a melodic piece of world jazz. (10/10)
2. "Fire Naked Prelude (1:20) uses acoustic guitar in two channels in a very RY COODER way. (8/10)
3. "Fire Naked Boom" (5:19) sounds like a PAT METHENY/FRANK ZAPPA/HIROMI UEHARA/JONI MITCHELL/WEATHER REPORT collaboration. Funny, loose, jazzy, displaying extraordinary instrumental skills, it works as a kind of performer's showcase. (8/10)
4. "Suite I: Ballad of the Forgotten (Threnody for Vincent Van Gogh and Nikolai Tesla)" (5:27)
is a powerful and beautiful tribute to the misunderstood. Much of the time it sounds like the instrumental first half of PAT METHENY & LYLE MAYS' classic "As Falls Wichita, So Falls Wichita Falls." (10/10)
5. ""Suite II: Scarborough Fair" (3:36) while the 'woodwind' plays the melody of the traditional English folk song, piano accompanies the emotional soloing of an acoustic guitar. Powerful. (9/10)
6. "The Story so Far" (3:43) starts with some synth wash and soft piano notes before kicking into a modern jazz combo supporting one of the best ALLAN HOLDSWORTH impersonations I've ever heard. Amazing! Simply must be heard! (8/10)
7. "The Shape Shifter Suite I: Two Spirit" (6:12) starts off like a WILL ACKERMAN/STEVE REICH song with those familiar layers of guitar arpeggios and other percussive instruments. 'Violin' takes over the lead melody for a bit, before giving way to some brilliant acoustic guitar soloing. The intricate weave of background instrumental support again makes this song sound like a long lost PAT METHENY GROUP song. But it's not: it's the work of one person! Amazing! (10/10)
8. "The Shape Shifter Suite II: Invocation" (5:43) begins more like a PAUL McCANDLESS/PAUL WINTER GROUP song before shifting to a pure JOHN McLAUGHLIN acoustic jazz piece à la 1970's My Goals Beyond. (10/10)
9. "'Even the Outsider' Suite: i) Borealis" (4:25) begins as if PAT METHENY, STEVE TIBBETTS, WILL ACKERMAN and MICHAEL HEDGES were all sitting down together to play. For two and a half minutes the instruments meander around as if searching for a common thread until an 'oboe' comes in to unite them. Solo acoustic guitar follows as support instruments keep the loose 'street jam' going in the background. Exciting tension, but no real 'show' ever seems to come out of it. (8/10)
10. "'Even the Outsider' Suite: ii) Climbing in Rainfalls" (5:16) picks up on a theme from part i and actually begins to jell into a song. Woodwinds and acoustic guitars trade lead soli as sensitive percussives, synths, and acoustic guitars provide the background matrix. A gentle, peaceful melody carries the day, though some of the background instruments seem to be trying to convey some tension and discord. Interesting song! (9/10)
11. "'Even the Outsider' Suite: iii) Even(in)g the Outside" (9:56) carries the Suite combo forward into a much more PAT METHENY realm of upbeat, positive melodies and rhythms. A very complex song filled with wonderful mood, key, and melody shifts and tons of subtleties that are delightful to discover with repeated listenings--something I highly recommend! Quite an emotional ride by this sensitive song-writer. (20/20)
12. "By Her Side" (6:28) begins with 'piano' introducing some very LYLE MAYS-like riffs. Acoustic guitar and double bass join in, eventually bringing forth a song in the vein of some of PAT METHENY's more gentle acoustic GROUP stuff--or like JOHN McLAUGHLIN's 1993 Bill Evans tribute album, Time Remembered. Virtuoso guitar playing and amazingly perfect 'piano' accompaniment. (10/10)
Each time I listen to this album I am absolutely astounded at the level of emotional subtlety conveyed through this computer-generated music! This is one of the top two or three jazz fusion albums I've heard from the 21st Century! Unfortunately you are very unlikely to hear this album as it was self-produced and has not met with enough acceptance nor reviews to catapult it into the limelight it deserves. Find Domina on the Internet and ask for her music. You won't regret it!
14. BILLY COBHAM Drum 'n' Bass 3 (2010)
Another go at the Milano-based collaborations with Nicolosi family and a whole bunch of all-star guests. Fasten your seat belts: Billy is on fire; a funk rampage!
Line-up / Musicians:
- Billy Cobham / drums
- Lino Nicolosi / guitar
- Pino Nicolosi / Fender Rhodes (1-3, 6-9), Hammond (2-4, 6-8), synth bass (2, 8), programming (4, 6)
- Rossana Nicolosi / bass
- Billy Cobham / drums
- Lino Nicolosi / guitar
- Pino Nicolosi / Fender Rhodes (1-3, 6-9), Hammond (2-4, 6-8), synth bass (2, 8), programming (4, 6)
- Rossana Nicolosi / bass
With:
- Brian Auger / Hammond & Fender Rhodes (1, 5)
- Chaka Khan / lead & backing vocals (2)
- Dora Nicolosi / vocals (2, 6)
- George Duke / Nord Lead 3 synth solo (3)
- Bob Mintzer / tenor saxophone (3, 7), Akai EWI synth (9)
- Gino Vanneli / vocals (4)
- Liesa Heart / backing vocals
- Brian Auger / Hammond & Fender Rhodes (1, 5)
- Chaka Khan / lead & backing vocals (2)
- Dora Nicolosi / vocals (2, 6)
- George Duke / Nord Lead 3 synth solo (3)
- Bob Mintzer / tenor saxophone (3, 7), Akai EWI synth (9)
- Gino Vanneli / vocals (4)
- Alex Acuña / Percussion (4, 5)
- John Scofield / guitar solo (5)
- Jarod Lawson / backing vocals- Liesa Heart / backing vocals
1. "Electric Man" (7:06) great Jazz-Rock Fusion led by Rossana and Billy's hard-driving rhythm track while Lino and Pino provide rich support (with some awesome Jan Hammer-like synth riffing from Pino), but it's Brian Auger's spirited performance on Hammond and Fender Rhodes throughout that provides many of the song's highlights. Nice to hear Brian still at the top of his game (Billy, too!)! (13.75/15)
2. "Alive" (5:14) Chaka Khan and Dora Nicolosi singing together, side-by-side! Pinch me cuz I must be dreaming. Both ladies are given multiple tracks to form a pretty awesome choir effect to the vocals, start to finish, but it's really Chaka's song: her voices and stylings given far more prominence than those of Dora. The foundational music is pretty basic Jazzy-R&B with some truly excellent rhythm guitar work from Lino and some awesome keyboard support (and soloing) from Pino on both Fender Rhodes and Hammond. Such great sound engineering from the Nicolosi Brothers! (9/10)
3. "Roller" (8:24) George Duke and Bob Mintzer are the featured artists on this truly funky ride on which Billy really lays down some extraordinary chops! Matter of fact, this is one of the few songs I've ever heard on which Rossana's bass playing doesn't seem to "fit": it's really 100% Billy creating and holding down the funk! George and Bob pretty much spend the first two minutes repeating and reinforcing the same melodies, playing in tandem without even creating any harmonies. George's Nord synth soars and dives like a firecracker in his solo in the fourth minute while Pino holds down the mid-range with his Fender Rhodes. Bob finally gets a nice, long solo in the fifth and sixth minutes--with the band transitioning into a kind of cool bounce-rhythm in that sixth minute--which serves to amplify attention to Billy's amazing drumming (and give Rosanna a little space in which to inject some of her own creative flourishes). Not annoying, but I'm not really much of a fan of this sax soloist's style--nor of the "bounce-rhythm"--especially when they're both extended over four minutes! With only a fadeout saving us from having to endure more. Were it not for the light it gives to hear/study Billy's playing, it would be a real yawner. (17.5/20)
4. "We The People" (5:34) Gino Vannelli! (One of my all-time favorite vocalists and music creators.) At first his voice sounds more like Simply Red's Mick Hucknal, but then, with the arrival of the first chorus, we finally find Gino breaking into his disctinctively forceful and exclusively unique sound. Solid song on which one of Jazz-Rock Fusion's great vocal masters shows why he is revered the way he is--and should be! (8.875/10)
5. "Destiny" (6:47) with Alex Acuña stepping in to help out in the percussion department, and guest John Scofield generating the odd lead sounds from his electric guitar, we're off to another great start to another great funky jazz track. Billy and Rossana are back in true sync--with additional help from a percussive synth bass and some of Pino and Lino's other tricks as well another awesome contribution from Brian Auger. The tit-for-tat duel of Scofield and Auger is without doubt the highlight feature here but one cannot (should never) discount the allure and magical properties of the rest of the music being created by Billy and the Nicolosi family. (13.5/15)
6. "I'd Like To Change" (5:04) Dora Nicolosi on the lead vocal, people! Given a great tune by her brothers, great groove from Billy, Rossana, and Pino, the performances are all supendous--especially Lino's surprise jazz guitar flourishes in the third minutes--but neither the basic chord progression nor the melodies given/offered by Dora are A-list "hookers." As a matter of fact, my absolute favorite parts of the song are A) Lino's afore-mentioned solo, B) the Vannelli Brothers-like "C" sectino in the instrumental fourth minute, and C) Pino's wonderful Hammond play throughout. (8.875/10)
7. "Dreamer" (4:24) another song that makes me fear that the Nicolosi Brothers are losing their magical grip on earworms: that they're choosing to employ more cerebral chord and melody progressions, inadvertantly sacrificing the pleasant hooks for the sake of funkiness. Plus, the presence of another innocuous sax lead just gives me DAVE SANBORN heebeejeebees. (I got so burned out on the David Sanborn, Najee, Kenny G sax sound phenomena back in the 80s!) Still, this song offers more GREAT performances from Billy and Pino. (8.875/10)
8. "Route" (4:48) a hard-driving synth-led tune that reminds me of Boney M and Rick Braun's "Chain Reaction." The lead/solo keyboard, bass, and electric guitar performances on this song are so high-quality that I find myself constantly checking and re-checking to see which guests are providing which instruments, but IT'S ENTIRELY DUE TO THE NICOLOSI's! (and Billy). (9.5/10)
9. "Stratus" (6:30) from the opening bass and drum line the listener is reminded of why this song is one of Jazz-Rock Fusion's greatest/most iconic songs ever. Anyone who gets to play on this one must feel the goosebumps of feeling "I'm playing 'Stratus'! with THE Billy Cobham!" GREAT bass play (and sound) from Rossana. GREAT synth contributions from Bob Mintzer. PERFECT keyboard playing from Pino Nicolosi and absolutely STUNNING/amazing lead guitar work from Lino. It's almost like you can't go wrong playing any version of this amazing song! And then, of course, you get the Master, the song's composer, breaking loose at the very end to remind us why this song, this drummer, and this man is considered one of THE absolute greatest of the Greats. (10/10)
Total time 53:51
Total time 53:51
Overall, the impression Vol. 3 of the Drum 'N' Voice collaborations is slightly disappointing to me. This is due, as pointed out above, to the Nicolosi Brothers' abandonment of easy/smooth melodies and chord structures for the sake of funking up the funk to the absolute funkiest funk they can mathematically conceive. Call me a sap, but I prefer the pleasing smooth side of Jazz-Funk: that's the music I can put on speakers to loop over and over all day long.
90.80 on the Fishscales = A-/five stars; a minor masterpiece of Jazz-Funk that gets it's high marks from three great songs--one of which is a cover/remake of one of Billy's iconic classic tunes.
15. DEWA BUDJANA Mahandini (2018)
Extraordinary Indonesian guitarist DEWA BUDJANA (formerly of the Indonesian band Gigi) has gathered a cast of virtuoso musicians around him and none other than Jimmy Haslip in the engineering/production studio to record some of his more recent compositions for, once again, Moonjune Records. Though Dewa's Balinese and Indonesian influences are often present, this is an album that comes off as far more Western J-R Fusion than anything he's done before.
Line-up / Musicians:
- Dewa Budjana / guitars, soundscapes
With:
- John Frusciante / vocals (1,7), guitar fill (1)
- Soimah Pancawati / lead vocals (3)
- Mike Stern / guitar (1st solo 5)
- Jordan Rudess / keyboards
- Mohini Dey / bass guitar, konnakol
- Marco Minnemann / drums
- Dimawan Krisnowo Adji / cello (8)
- Adrian Muhammad / vibraphone (8)
1. "Crowded" (5:55) a laid-back John Frusciante rock composition on which John provides the vocals (and a little guitar). Marco Minnemann makes his skills and talents known from the start filling little spaces with incredibly subtle percussion work. The music ramps up into heavy rock territory with the second verse and chorus before any soli enter (John and Dewa's guitars). Not a real fan of this one. (8.25/10)
2. "Queen Kanya" (6:59) melodic modern jazz fusion with a speed and intensity that is over-the-top in skill and virtuosity. It takes a minute for the composition to establish the intro and moving the groundwork of the song's body, which is quite melodic, quite Western jazzy. Dewa's like the new ALLAN HOLDSWORTH or John Mitchell while his support crew of bassist Mohini Dey, keyboard artist Jordan Rudess and drummer Marco Minnemann are simply at the top of the skill charts--and this song really demands it! Mohini even adds some konnakol vocals (the drum-like vocalizations common to several Indian musical traditions that guitarist John McLaughlin has done so much to bring to light with his SHAKTI projects) in the fifth and sixth minutes. I love music that tries to explore a combination of East-meets-West traditions! I'm also reminded of the wonderful jazz fusion compositions that Canadian bass virtuoso ANTOINE FAFARD has produced over the past decade. (14.25/15)
3. "Hyang Giri" (7:44) opens with Gamelan percussion and drums with Indian vocals provided by Soimah Pancawaiti--whose melodies and style drive the whole song. Between the vocal passages are some sick prog whole group instrumental passages in which Marco, Mohini, Jordan, and Dewa take no prisoners and astonish. Jordan's piano solo in the fourth minute is so LYLE MAYS-like but is then followed by otherworldly bass play by Mohini Dey and Dewa's majestic lead guitar before being then reprised in fifth before the band comes back together with astonishing machine gun speed runs before gelling again to support Soimah's beautiful vocal. Choral chants close it out. Wow! What a ride! I LOVE East-West fusions! (14.5/15)
4. "Jung Oman" (6:52) opening with rousing classical piano solo, guitar and piano arpeggi with soaring guitar notes flitting away above establish a slow, melodic, almost MAHVISHNU chord progression. Jordan Rudess is on fire with his classical piano play beneath the slow, steady melody being played by Dewa's guitar. At 2:57 we have a heavy rock bridge ushering us into a more sparsely-populated soundscape for Dewa's acoustic guitar solo. Beautiful. (14/15)
5. "ILW" (6:39) a rock jam featuring experimental guitarist Mike Stern in a guest starring role. Man! Marco and Mohini make one rock solid/extraordinary rhythm section. The guitar sound used by the first guitarist's solo is exactly the same one that John McLaughlin has been using (especially in live performances) for the past 20 years: muted saxophone-like. The two guitarists trade solos for the bulk of the song but this does nothing to mute the contributions of the rest of the band despite the fact that none of them are highlighted. Once again, I find myself thinking of and comparing this a lot with the music of Antoine Fafard from the past decade. (8.75/10)
6. "Mahandini" (8:17) a beautiful Pat Metheny (or Jean-Luc Ponty)-like melody from Dewa's guitar and Jordan's keys with comparatively laid-back play from Mohini and Marco, the order of solos is bass (Mohini), Fender Rhodes (Jordan), guitar (Dewa), and drums (Marco) with TFK-like bridges between each. A great jazz-rock fusion song explicitly contrived to show off the individual talents of its four extraordinary instrumentalists. And, boy! Does it succeed! (18/20)
7. "Zone" (5:56) the album's second John Frusciante song. Though basically a rock song, the softer verse sections are made a little pop-jazzy by Jordan Rudess's jazzy piano work. The vocal is, to my ears, much better, more nuanced and engaging, than the album's uponing song, while Dewa's guitar really gets to shine. Marco and Mohini are, of course, rock solid and so delightful to listen to for their idiosyncratic nuances. Better than the opener but still not in the same realm as the jazz-fusion songs. (8.5/10)
Total Time 48:22
90.79 on the Fishscales = A-/five stars; a minor masterpiece of jazz-rock fusion-oriented rock music--some of it successfully crossing lines between and blending Eastern and Western musical traditions.
16. STARVING DAUGHTERS Strange Valleys (2019)
Funky Canterbury; this year's equivalent to 2017's Suspension by fellow West Coaster Brian Ellis. Chris Tillotson and collaborators have pulled together such a great collection of psychedelic funk prog instrumentals that I find myself asking, "Who are these guys? Why have I never heard of them?" And, of course, I've got to go back into their discography to hear the other albums that led to this masterpiece.
Line-up / Musicians:
Jack Hutchings - guitar
Sofia Polacio - synthesizer
Chris Tillotson - guitar, synthesizer
Mason Owen - drums
1. "Sunburn" (3:14) the West Coast funk reincarnation of Steve Hillage?! (9/10)
2. "Night Stalker" (3:08) great groove with amazing weave of acoustic guitar, electric guzz guitar and synth. The synth solos steal this one away! Best song on the album and in the running for Song of the Year! (10/10)
3. "Raw Deal" (2:59) Amazing slowed-down section beginning at the 2:00 mark. (9.5/10)
4. "Al Pastor" (3:20) prominent and aggressive acoustic guitar strumming distinguishes this song from the rest. (8/10)
5. "Joshua Tree" (1:37) more syncopated, slowed down acoustic guitars form the spine for this one while multiple synths and heavily-treated guitars cover the weave of leads. (8/10)
6. "PCH" (2:10) almost a total ripoff of CHIC/NILE ROGERS/BERNARD EDWARDS/SISTER SLEDGE song "He's The Greatest Dancer" for the first minute before the searing STEVE HILLAGE-like solo guitar takes over. (8.5/10)
7. "Jogging" (3:01) more IBIZA beach-jazz-funk; more disco-like rhythm guitar over which synths and STEVE HILLAGE-like lead guitar jam. (9.5/10)
8. "Diamonds" (3:08) essentially a continuation of the previous song's rhythm tracks with new/different lead instrument sounds and melodies. Great bass play! (9.5/10)
9. "Los Angeles" (3:31) more of a 70s Black sexploitation soundtrack song on this one, though more laid back. Heavily flanged synth in left channel and fuzzed guitar in right tandem solo. Lead guitar switches through three different sounds, the last of which sounds like Mike OLDFIELD. More great bass play and R&B rhythm guitar. (8.5/10)
10. "Pursuit" (1:55) a hard drivin' funk song with awesome OLDFIELD/HILLAGE-like guitar sound soloing over the top. Synth joins in with chorus, otherwise this one is a showcase for a single solo guitar. (9/10)
11. "Neon Traffic" (3:27) jazzier funk here supports GARY NUMAN-like solo synth sound before guitar enters to take the lead. More HILLAGE reminders here. Nice spacey synth solo at the end of the second minute. (8.5/10)
12. "El Nino" (2:20) lke a revisitation to STEVE HILLAGE's "Palm Trees" (without the lyrics). (9.5/10)
13. "Criminal Weekend" (2:34) Another gorgeous song that feels as if it were inspired by STEVE HILLAGE's album Green--and specifically the song "Palm Trees." (10/10)
14. "Sunsets" (3:11) (9/10)
Total Time 39:35
90.71 on the Fishscales = A-/5 stars; a minor masterpiece and ground-blazing contribution of upbeat "Canterbury Funk."
Yes, Louis and Genevieve use a lot of humor and youthful devil-may-care joy and reckless abandon in their song making--both in the lyrics and vocal deliveries, but also in the unusual, quirky and compressed and/or truncated modern music
Line-up / Musicians:
- Louis Cole / drums, programming, composition
- Genevieve Artadi / vocals, composition
With the occasional inputs of:
- Sam Wilkes / bass
- Rai Thistelwayte / keyboards
- Sam Gendel / saxophones
1. "Knower Rulez" (1:36) this one opens like something from PRINCE's Art Official Age: walls of synths, cymbals, and choral vocalese. It ends with "KNOWER RULES!" when I keep expecting "Welcome to the Art Official Age." (5/5)
2. "Hanging On" (5:24) engaging melodies from Genevieve hook you in straight off the bat, but then the funk bass 'n' drums establishes a kind of 1980s Janet Jackson (Jimmy Jam & Terry Lewis) motif over which Genevieve squeals out a breathy JANET-like verse. The chorus is where the "pretty" stuff returns with Genevieve's lovely upper octave singing--sounding a bit like Corinne Drury and SWING OUT SISTER. Great great song that feels totally fresh and innovative despite all of my references. (9.5/10)
3. "The Government Knows" (3:43) opens almost like a soundtrack song to a animated cartoon/animé or EDM piece. Louis enters singing-reciting with a very heavily-treated yet still distinguishable vocal performance of a very important public service announcement. The humor and fun are exacerbated by the choir of angels in the background and even more by the "Sexy R&B background singers" at the very end. Great rave dance floor music! (9.125/10)
4. "All Time" (3:45) soft, gentle music that once again reminds one of the many introspective/reflective love songs that Flyte Tyme Jimmy Jam & Terry Lewis created for Janet Jackson and so many others back in the 1980s and 1990s. Pleasant to listen to: pretty. Too bad I miss out on the message Genevieve is trying to convey. (8.75/10)
5. "Overtime" (4:28) one of the all-time greatest songs ever created: both here and in the "Live Band sesh" as well. (I can't help myself: I'm going to write this review from watching the Live Band sesh video). The drums feel unhumanly but they're not: they're really Louis Cole, playing drums. The bass feels impossible but it's not: it's the amazing Sam Wilkes finger his way around his fretboard like he's Hammy the Squirrel amped up on caffeine. Sam Gendel's sax feels totally fresh and unique. Rai Thistlewayte's keyboard play is incredible (the whole band's timing is beyond my comprehension) but his extended synth solo in the whole of the fifth minute is one of THE greatest I've EVER heard. And Genevieve Artadi's vocal performance is so far beyond anything I could ever have expected that I'm still awed and blown away every time I hear it (and I've probably heard it close to 100 times now). I feel as if I've been given this drop on a window of music from the future--something no other human has even imagined yet much less put down into a recording.
1. "Knower Rulez" (1:36) this one opens like something from PRINCE's Art Official Age: walls of synths, cymbals, and choral vocalese. It ends with "KNOWER RULES!" when I keep expecting "Welcome to the Art Official Age." (5/5)
2. "Hanging On" (5:24) engaging melodies from Genevieve hook you in straight off the bat, but then the funk bass 'n' drums establishes a kind of 1980s Janet Jackson (Jimmy Jam & Terry Lewis) motif over which Genevieve squeals out a breathy JANET-like verse. The chorus is where the "pretty" stuff returns with Genevieve's lovely upper octave singing--sounding a bit like Corinne Drury and SWING OUT SISTER. Great great song that feels totally fresh and innovative despite all of my references. (9.5/10)
3. "The Government Knows" (3:43) opens almost like a soundtrack song to a animated cartoon/animé or EDM piece. Louis enters singing-reciting with a very heavily-treated yet still distinguishable vocal performance of a very important public service announcement. The humor and fun are exacerbated by the choir of angels in the background and even more by the "Sexy R&B background singers" at the very end. Great rave dance floor music! (9.125/10)
4. "All Time" (3:45) soft, gentle music that once again reminds one of the many introspective/reflective love songs that Flyte Tyme Jimmy Jam & Terry Lewis created for Janet Jackson and so many others back in the 1980s and 1990s. Pleasant to listen to: pretty. Too bad I miss out on the message Genevieve is trying to convey. (8.75/10)
5. "Overtime" (4:28) one of the all-time greatest songs ever created: both here and in the "Live Band sesh" as well. (I can't help myself: I'm going to write this review from watching the Live Band sesh video). The drums feel unhumanly but they're not: they're really Louis Cole, playing drums. The bass feels impossible but it's not: it's the amazing Sam Wilkes finger his way around his fretboard like he's Hammy the Squirrel amped up on caffeine. Sam Gendel's sax feels totally fresh and unique. Rai Thistlewayte's keyboard play is incredible (the whole band's timing is beyond my comprehension) but his extended synth solo in the whole of the fifth minute is one of THE greatest I've EVER heard. And Genevieve Artadi's vocal performance is so far beyond anything I could ever have expected that I'm still awed and blown away every time I hear it (and I've probably heard it close to 100 times now). I feel as if I've been given this drop on a window of music from the future--something no other human has even imagined yet much less put down into a recording.
The studio version that exists on the album is very good but not nearly as fun, powerful, or impressive as the "Live Band sesh" video but I'm still going to give the song a super-enthusiastic rating. (9.5/10)
6. "BUTTS TITS MONEY" (3:33) Louis' computer-treated voice repeating "yes" over and over is soon abandoned and transitioned into a more EDM-informed groove over which Genevieve sings in her highest, most ethereal "little girl" voice--which, of course, provides a big part of the irony of the subject and point of this song. Nice BUGGLES-like synth chord soloing in the final minute or so. (8.875/10)
6. "BUTTS TITS MONEY" (3:33) Louis' computer-treated voice repeating "yes" over and over is soon abandoned and transitioned into a more EDM-informed groove over which Genevieve sings in her highest, most ethereal "little girl" voice--which, of course, provides a big part of the irony of the subject and point of this song. Nice BUGGLES-like synth chord soloing in the final minute or so. (8.875/10)
7. "Die Right Now" (3:40) strummed guitars?!! What's up? Louis' plastic drums and keyboard bass line enter to give more shape for Genevieve to offer a kind of GO-GO's vocal performance--both in the lead and background choir tracks. (8.75/10)
8. "More than Just Another Try" (2:25) this one opens up like a Thomas Tallis church choir piece. Not what I was expecting from KNOWER but excellent anyway! (5/5)
9. "Pizza" (4:10) music to match the clever, humorous lyrics. As we get to the EDM mid-section I am once again filled with the thought that had the Go-Go's emerged as millennials or Gen Z-ers this is what they might have sounded like. (8.75/10)
10. "Real Thing" (4:24) a song that could very well have come from one of the BEACH BOYS' classic albums from the late 1960s (Pet Sounds or Smiley Smile). Nice pop song with nice, smooth vocal and music. (8.875/10)
11. "Lose My Mind" (3:23) great EDM-infused jazz-rock Fusion of the "Overtime" ilk; just not quite as innovative or dynamically-injected as the latter. (9/10)
12. "Cry Tomorrow, Laugh Today" (5:34) a gorgeous "goodnight ballad" in the tradition of JANET JACKSON. I love the instrumental support given Genevieve's soothing vocal--the use of the "harp" (sound) is awesome as is the synth-produced horns, strings, and Mellotron in the song's mid-section. It gives it an almost DISNEY presence and power. Excellent ideas rendered exceptionally well! (9.25/10)
Overall, there is a lot of pop-orientation on the songs included on this album--especially in Genevieve's vocal performances--and Louis' music is often encroaching into the world of EDM that so frequently backs Japanese animé and other animated video, film, and cartoons. But, the wit is so inventive and intelligently crafted that it actually adds to the enjoyability of the music--and to the band's fun-loving reputation. I found myself quite surprised at the "youthfulness" of this music--both musically, stylistically, but also lyrically. Having started my familiarity with their "Live Sesh" video of "Overtime" from 2018 (which made its first appearance here, on this album), I guess I was expecting a more high-powered, high-class, inventive and innovative jazz than what we have here.
91.02 on the Fishscales = A-/five stars; a minor-masterpiece of EDM-pop-informed youthful fusion (some jazz, some rock, more of the former referents). Recommended for Gen Z-ers and maybe Millennials, not so much for those older than that. For the BEST of Knower, I'd go to the AMAZING "Live sesh" videos and/or 2023's KNOWER Forever.
18. JAM IT! Following the Unknown (2015)
Unusually well-produced jazz fusion from Russia. Though Russia is supposedly cursed with a lack of attention (or care) for rhythmicity, the drummer here, Alexey Vostrikov is quite steady, disciplined, and creative. His supposed influence from Mike Portnoy has rubbed off well. For me, however, the centerpiece of this quartet of tightly matched musicians is guitarist Konstantin Illin. His technical skill is enhanced by his creative sensibilities, allowing him to sound like some kind of cross between blues legend Luther Allison and jazz legend Allan Holdsworth. Bassist Dmitry Medvinsky and keyboardist Roman Savelyev play excellent roles in support of the machinations of the two "leads" in this band. All in all, the music and composing are very, very solid--and the songs are performed very tightly. Though some reviewers have noted the metal/Dream Theater or the 80s King Crimson influences to this music, I am not as convinced--though song 5. "Avalanche" does possess many of the shifts and angularities and rhythmic guitar and drum interplay one might expect from those kinds of influences. The presence of a strongly independent melodic sense throughout takes me out of DT-KC territory. Even the chord progressions--often quite fast and complex--are surprisingly melodic. The music produced by these guys stands on its own; they are their own force, not an imitator or clone of someone else.
1. "Following The Unknown" (10:10) opens with a 1970/80s familiarity and simplicity, but then a volume- and twang-bar-treated electric guitar proceeds to take us deep into guitar heaven. What a solo Konstantin unleashes for over a minute! Then around 2:15 things shift--they slow down to give the rhythmtist a chance to shine (though no real soloing--this seems to be Alexey's way: to surprise and express in his syncopated, intuitive and creative percussion-scapes). by the 4:30 mark the band has played around, woven something together, before a little axe solo and a wonderful NIL-like section unfolds. I'm also thinking "Fromuz" with this one. The melodic flow of this one doesn't quite make sense to me but I can certainly appreciate the 'theory' behind the compositional flow. Nice introduction but nothing mind-blowing (except for the opening guitar solo). (16.5/20)
2. "Sea Breeze" (7:16) continues to put on display the band's complex and tight tempo and chordal changes--but, though impressive, this is nothing so very new or exciting. Yet. (12.5/15)
3. "Through The Forest" (6:30) opens a bit like a CORVUS STONE song, rockin' bluesy with the COLIN TENCH guitar sound. It goes through a few shifts over the simple bass line and stumbling drum line. This is, for me, the "breakout song" in which the band shows some of its uniqeness. There are interesting tempo and key shifts, interesting keyboard choices and passages, and frequent melody shifts as well. The duplicated keyboard-guitar riffs in the fifth minute are awesome--and they're followed immediately by some awesome power chords before a piano-based section takes over. Soon bass and drums kick up a groove over which the guitar and piano rip. Awesome song! My third favorite on the album. (9/10)
4. "Mountain Of Solitude" (9:33) is the first song in which I feel as if the band members have set up a goal or study of an idea--as if they are practicing some concept from music theory. A relatively slow tempo song, the band amps up the volume around the 3:45 mark--with Konstantin's guitar, of course, taking the lead--but not for long, as the song quickly returns to étude mode though with increasingly heaviness--building toward a guitar harmonics bridge at the five minute mark that precedes another classic bluesy pitch-bending and chord-interspersed guitar solo. Stevie Ray would be proud! I love the collective control and discipline exhibited in this one. Alexey is awesome in the background! I'd love to see him and Gavin HARRISON or Vinny COLAIUTA trade punches! (18/20)
5. "Avalanche" (7:24) opens with an Alexey solo establishing the mixed-meter tempo. The rest of the band soon arrive and eventually establish some nice, complex melodies through chordal progression and instrumental interplay. Really interesting! Konstantin almost gets unleashed a couple of times until the fourth minute when tempo and mood downshift to something very pretty and simple--but not for long! A heavier expression of this same slowed down section establishes itself before alternating back and forth with the pretty section. But then, surprise, some awesome djenty guitar and bass open the door for some odd drum soloing by Alexey. Konstatin's guitar soon tries to take the lead but Alexey seems to fight him for it! Awesome! Alexey is going crazy as the band launches a new almost RPI-like section up to the end. Great song! (13.5/15)
6. "Into The Mist" (5:07) opens as a kind of gentle chordal and rhythmic etude. By the time the song gels into its second round of the study after the first "chorus" their is some significant and beautiful development. Starting at the 2:15 mark the song begins to amp up with some amazing bass and guitar play (as Alexey lays back). When Konstantin hits some amazing notes at the end of the fourth minute the 'étude' feels as if it is building, gradually filling all of the "empty" space that the opening section had displayed to the point that it is very full, but not too busy or loud by the end. It all works wonderfully! A top three song for me. (10/10)
7. "Random Name Hero" (12:22) This is the song whose surprising chord progressions are surprisingly melodic--even replete with delightful Asian tendencies. A true West-meets-East contrivance. I love it! It starts out rather mundanely but by the second minute unfolds into a wonderfully entertaining and engaging song. By the six and seventh minutes enough interplay has been displayed to allow the individuals to go on to some nice soli--bass, keys, and awesome classic rock-like blues guitar. Roman's keyboard support throughout this one is, I have to admit, quite extraordinary. And Alexey's military-founded rhythmics are, of course, in a league all their own. Wow! Another top three song. (24/25)
An incredibly tight display of teamwork with many usually brief displays of individual brilliance (most often by the guitarist and drummer), JAM IT! is definitely one of the surprise bands and albums of 2015. So glad our vigilant Russian spy Nikolaj keeps me informed as to the goings-on on the Russian front!
90.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock (jazz fusion). This album is DEFINITELY highly recommended--it would be an excellent addition to any prog music lover's album collection!
Albums yet-to-be reviewed:
STANLEY CLARKE The Stanley Clarke Band (2010)
Line-up / Musicians:
- Ruslan Sirota / acoustic & electric pianos, synthesizer, vocals (1)
- Stanley Clarke / electric & acoustic basses, vocals (1), co-producer
- Ronald Bruner Jr. / drums
With:
- Ilsey Juber / vocals (1)
- Natasha Agrama / vocals (1)
- Cheryl Bentyne / vocals (10)
- Charles Altura / electric guitar (1-3,6-8)
- Rob Bacon / electric guitar (4,10)
- Felton C. Pilate II / keyboards (4)
- Hiromi Uehara / piano (6,8-10)
- Bob Sheppard / soprano (8) & tenor (10) saxophones
- Doug Webb / saxophone (10)
- Andrew Lippman / trombone (10)
- John Papenbrook / trumpet (10)
- Armand Sabal-Lecco / electric bass (2)
- Chris Clarke / drum programming (2)
- Jonathan Hakakian / drum programming (2,4,5)
1. "Soldier" (7:07)
2. "Fulani" (6:29)
3. "Here's Why Tears Dry" (4:52)
4. "I Wanna Play For You Too" (4:13)
5. "Bass Folk Song No. 10" (3:40)
6. "No Mystery" (7:09)
7. "How Is The Weather Up There?" (5:54)
8. "Larry Has Traveled 11 Miles And Waited A Lifetime For The Return Of Vishnu's Report" (6:32)
9. "Labyrinth" (5:55)
10. "Sonny Rollins" (8:49)
11. "Bass Folk Song No. 6 (Mo Anam Cara)" (2:41)
Total time 63:21
on the Fishscales = / stars;
DEWA BUDJANA Hasta Karma (2015)
- Dewa Budjana / electric & acoustic guitars, soundscapes, arranger & producer
With:
- Ben Williams / upright bass
- Antonio Sanchez / drums
- Joe Locke / vibraphone
- Indra Lesmana / electric piano (4), piano (5,6), melodica (6)
- Jro Ktut Sidemen / vocals (4)
1. "Saniscara" (8:01)
2. "Desember" (7:32)
3. "Jayaprana" (8:32)
4. "Ruang Dialisis" (11:43)
5. "Just Kidung" (6:45)
6. "Campuhan Hill" (10:01)
Total Time 52:34
on the Fishscales = / stars;
