RHYTHM & JAZZ September/October 1995 Vol. 2, No. 8
Copyright (c) 1995 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
Welcome to another issue of RHYTHM & JAZZ, and a special "G'day,
mate!" to David Beard of Rhythm & Jazz, 91.5 FM in Sydney, Australia!
While the contemporary instrumental music we sometimes take for granted
in
Southern California is a rarity in the planet's other hemisphere, David
goes all out to bring his listeners as much cool jazz as he can. Thanks
for using us as your guide!
Mr. Beard, I should point out, is so up on his contemporary jazz that
he is the first reader to discover my secret recording past. He wrote to
us: "Browsing the Heads Up Catalogue and, gosh, there's a Dan Margules
on
an album! Could it be you? 'Fess up!"
You're very observant. Yes, that was me. Venezuelan harpist Carlos
Guedes came to San Diego to record his second CD, TODA AMERICA (Heads Up
International), and invited me to the studio for an interview and to hang
out. When he needed extra percussionists for the intro to the title cut
(from a 1942 Argentine film), I picked up the nearest tamborim and showed
him my stuff. The tapes rolled and history was made -- my only recording
to date.
BTW, most people I tell this story to are confused on one point. A
tamborim is not the same as a tambourine. A tambourine has bells and was
played by Tracy Partridge on the Partridge Family.
But enough about me. On with the issue. Be sure to come back
wherever you downloaded this from because the next issue will have our
annual ten best list.
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Oliver Dorman
STEVE ALLEE - THE MAGIC HOUR (Noteworthy), 59:08
It's hard to believe this debut keyboardist's professional background is
in big band and straight ahead jazz while listening to this delightful
romp through Joe Sample and Kim Pensyl territory. "Growing up, I loved
Miles and Coltrane, but I was also fascinated by James Brown and Quincy
Jones," explains Allee. "Add to that my love for the fusion of
soul and
jazz by Marcus Miller and Joe Sample, and you get an idea of the kinds of
things my own music draws from."
Producer, saxophonist and fellow Hoosier Tom Borton brought significant
vibes to this project. "Tom liked my own writing and playing, and I
enjoyed his ideas on melody and rhythmic arrangements," Allee adds.
"While he tended to the wide array of grooves, I focused on more of
the
subtle harmonies, some of the more beautiful ideas that don't really hit
you over the head, but make you feel romantic."
A dash of romance and a touch of funk are the ingredients for THE MAGIC
HOUR, thirteen smooth originals written or co-written by Allee and
Borton. The melody of "Swoonaire" is slinky and delicious. "Blue
Vista"
is a peaceful ride with a pleasurably light hip-hop beat in the
background. Borton and trumpeter Jerry Hey complement the hooky "Wishful
Thinking". Thriller "Cucamonga" displays the results of the
pianist's
funk influences. A nice discovery. Borton's solo efforts include
winners DANCING WITH TIGERS and THE LOST WORLD on Bluemoon.
PRODUCED BY: Tom Borton
THE CARIBBEAN JAZZ PROJECT (Heads Up International), 59:01
A big R&J Thank You to whoever came up with this concept! The teaming
of
Cuban sax legend Paquito D'Rivera, steel pan master Andy Narell, and long-
time Spyro Gyra vibraphonist Dave Samuels sounds so natural, it's
surprising they hadn't done this sooner. "Caribbean and Latin music
share the same roots, but are very different. The Hispanic sounds are
unique from those on the French and English owned islands," says
D'Rivera, explaining the unique meld of Cuban, Brazilian, and Caribbean
found on this CD. "Ours is very uptight, while the Calypso beat is
more
relaxed, laid back."
"It was a challenge learning each other's music," adds Narell,
"but once
we mastered it, we felt we had achieved something special." Special,
indeed. Narell's moody "Abracadabra" is a thrilling and mysterious
ride.
D'Rivera's "Como Un Bolero" is a gorgeous, sweet clarinet ballad.
Paquito and Dave co-penned the fun-spirited "Paco & Dave",
while Samuels'
best contribution, "Latin Quarter", has a terrific Spyro-like
tropical
feeling. "Todo Aquel Ayer" is a super-romantic gem, perfect for
dancing
under the stars on a warm night.
"Caribbean defines part of what we do and jazz defines the other part,"
comments Samuels. The trio also plans to tour. For more information,
visit the label's Web site -- http://headsup.com.
PRODUCED BY: The Caribbean Jazz Project
RANDY ROOS - PRIMALVISION (Narada Mystique), 48:43
Jazzman Charles McPherson once remarked, "The only innovator today
is
Yamaha," referring to technology companies in general, as opposed to
the
musicians who utilize that technology. Randy Roos, whose first CD,
LIQUID SMOKE, in no way prepared me for this leap in vision, is certainly
an artist whose use of technology can be called innovative. True, Roos
didn't event the guitar synthesizer, but his idea to MIDI samples of
tribal vocals has created a vibrant tapestry of new world music sounds,
both organic and electronic.
This Patrick O'Hearn of the 90's has taken the experimental side of Rob
Mounsey's Flying Monkey Orchestra and fused it with a more palatable,
Richard Souther-like soundscape. "When I do film scoring, I react to
the
visual elements and design music that fits the flow of the photography,"
explains Roos. "When I write for an album, I enjoy the freedom of
following a sound, hearing it develop organically, letting it have a life
of its own."
The opening track, "The Ancestor", gets its breath of life from
two Asian
women singing traditional songs as they work. The sample is played
through the guitar rather than a keyboard, giving the voices a unique
bend and pitch and, thus, more of a feel of a live musician playing the
voices rather than straight singing or the more mechanical feel of a
keyboard triggering them. "Black Elk" features a sample from a
Sioux
powwow infused with a hip-hop groove. "Raven's Light" has a pastoral
melody of churning percussion. Other tracks are more for exploring moods
of dark, dry, wide-open spaces. PRIMALVISION is a welcome return to the
electronic new age frontier that seemed to be stalled in creativity a few
years ago. And the artwork is sensational, too.
PRODUCED BY: Randy Roos
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NEW RELEASES by Bethany Springs
RICK BRAUN - BEAT STREET (Bluemoon), 53:28
PRODUCED BY: Rick Braun (and Dave Palmer on 3 tracks)
RHYTHM & JAZZ picked up on this innovative trumpeter in 1992 when we
put
his debut CD INTIMATE SECRETS (Mesa) in our ten best list. Since then,
the trumpeter for Rod Stewart and Sade has become the virtual house
producer for Mesa/Bluemoon, having helmed hit projects for Willie &
Lobo, Avenue Blue, and Peppino D'Agostino. Here on his fourth CD, Braun
continues pushing contemporary jazz forward into modern street vibes.
Rather than fuse his trumpet with aimless hip-hop, as Miles Davis did on
his final studio recording (DOO-BOP, Warner Bros.), Braun brings in a
classic soul element he picked up from his days with War. Slick bass
grooves from Cliff Hugo and wah-wah guitars by Carl Verheyen give
Braun's always-sophisticated muted horn a new cool. Guests include
Boney James, Peter White, and Avenue Blue's Jeff Golub. For fans of
Braun's first album, the haunting "Natalie" (named for Natalie
Wood)
will stand out as a winner. Contempojazz artists who remain happy
playing it safe will learn a lot from Rick Braun's artistry.
JONATHAN CAIN - PIANO WITH A VIEW (Higher Octave), 47:33
PRODUCED BY: (no credits on review copy)
It's an official trend, now. Rock stars mellowing with contemporary
instrumental music. First it was Jefferson Starship's Craig Chaquico.
Next came Journey's Neal Schon. Now we have Schon's co-producer and
former bandmate, Journey keyboardist Jonathan Cain. Cain's release is
focused on the piano, featuring bright and beautiful melodies from the
composer of such indelible Top 40 hits as "Faithfully" and "Open
Arms",
surrounded by easy, driving grooves. The 12 new originals are just as
ear-pleasing and memorable as his hits of the past. Cain pounds out a
delightful melody on "Winds Of Carnivale". The smooth, Journey-ish
"Tell It To My Heart" gets a little heat from some searing, passionate
sax blowing from Marc Russo, who returns on the intimate "Into The
Intimacy". The heavenly "Passion Dance", the playful title
cut, and the
more aggressive, energetic "From Wings Of Love" are further highlights.
CRAIG T. COOPER - TOUCH-TONE (Sin-Drome), 50:47
PRODUCED BY: Craig T. Cooper
If Barry White's voice were music, it would sound like this smooth,
sensuous urban release. Cooper plays a soft, Benson-style guitar and
lays down all the cool synth grooves. Pianist Vernell Brown, Jr., adds
just the right note to the opener. The title cut mixes in some
harmonica by FORREST GUMP's Mykelti ("Bubba") Williamson. Tracks
like
the 8-minute "Rose Petals" make TOUCH-TONE a super-fine date record.
Later, the disc opens up to include the Crusaders on a track, "Can
I
Still Play With The Band?" Cooper also plays rhythm guitar all over
the
Jazz Crusaders latest release (reviewed below).
THE DALTON GANG - MIAMI SHADOWS (Second Step), 54:11
PRODUCED BY: Willy Dalton and the Dalton Gang
Big band's been making a comeback. More than a few big band records
have been mentioned in these virtual pages recently, but none has
captured the contemporary spirit of R&J as much as this second outing
from leader/composer/guitarist Willy Dalton and his New York-based gang.
"When I write for this band, I try to draw on the mix of sounds that
we
play as working musicians in the New York area - jazz, funk, Latin, big
band, etc.," says Willy. "Putting this all in one package and
making
the music challenging to play is what I'm aiming for." Opener "Let's
Get Greasy" is a cross between the Jazz Crusaders and Tower Of Power.
"I Still Don't Know" is the cool Latin entry. "Sting-Ray"
has a tenor
sax melody that would be comfortable on a Spyro Gyra record. And the
snappy "Boo Bop" is the coolest. A fun big band record for R&J
fans!
DEAN EVENSON - ASCENSION (Soundings Of The Planet), 63:34
PRODUCED BY: Dean & Dudley Evenson
"Ascension is an ongoing process of helping ourselves and others to
evolve spiritually so we can create greater harmony on this planet,"
says Dean Evenson, who plays flute and keyboards on this gorgeous
sounding New Age disc that has a power to open hearts and minds to inner
peace. Dean and his wife Dudley (who plays harp on this record) climbed
the world's highest mountains in the Himalayas for their inspiration and
came down with a majestic score. Similar to Lanz & Speer, but with more
ambient breathing room to stretch out and lose oneself in. One of the
most relaxing discs of the year.
FRIEDEMANN - LEGENDS OF LIGHT (Narada Equinox), 45;14
PRODUCED BY: Friedemann Witecka
An ode to the ancient, lost civilization of Belenos in his native
Germany, Friedemann's first outing in five years is a peaceful, new age
aural painting of faraway, wide-open spaces. His Spanish steel-string
electric and octave guitars punctuate the picturesque soundscape tied
together with plaintive horns (soprano and alto sax, oboe, clarinet) and
engaging musical thoughts. The melodious "Joy Of Beltane" is the
standout, featuring colorful marimbas by Emmanuel Sejourne and an up
rhythm.
TONY GABLE & 206 - SEVEN HILLS (Heads Up International), 44:53
PRODUCED BY: John Raymond
Seven Seattleites fronted by former Kenny G percussionist Gable re-team
for second smooth outing. Guest Jeff Lorber sizzles on opener "Rob's
Groove". Groovin' cover of "How Long" ('...Has This Been
Going On?')
features labelmates 2nd Nature on vocals. Group handles ballads just as
smoothly, as evidenced on breezy "Catina" featuring producer/composer
Raymond on guitar (and almost everything else!). Pulsating "Luna Park"
closes disc with a spark.
GRANT GEISSMAN - BUSINESS AS USUAL (Positive), 57:35
PRODUCED BY: Grant Geissman
1994 was a year without a Grant Geissman release. But now he's back,
and he's come back big! In 1990, Geissman began concentrating
exclusively on the nylon string acoustic guitar. He went even more
acoustic on 1993's unfairly overlooked, experimental RUSTIC TECHNOLOGY
(Bluemoon). Now he's brought his electric "Strat" guitars out
of
retirement on this solid release that's sure to land Grant back on the
top of the NAC charts where he belongs. Four tunes by Grant and his
most reliable collaborator, keyboardist Emil Palame, include "Chase
The
Dragon" with a strong Steely Dan vibe (a longer version is included
at
the end of the disc) and the powerhouse "Gypsies" featuring Grant's
impressive 12-string classical guitar chops. Both cuts feature a four
part brass section as well. Dan Siegel contributes to two compositions,
adding the exotic flavor of Grant's last release and Siegel's current
HEMISPHERES (Playfull). Two other fabulous co-compositions are the
playful "Tomorrow The World" written with bassist Lloyd Moffitt
and the
multirhythmic trio "The Hardest Part" written with drummer Tom
Walsh.
LIONEL HAMPTON - FOR THE LOVE OF MUSIC (MoJazz), 50:54
PRODUCED BY: Lionel Hampton (and various)
Patrice Rushen and Ndugu Chancler lay down some funk grooves over Joshua
Redman's blowing on "Flying Home", the opening track on this
surprisingly 90's outing for legendary octogenarian vibist Lionel
Hampton. "We got lots of cats on this recording from R&B, jazz,
new
cats, old friends. You name 'em, we got 'em!" says Hamp. "We were
doing these things long before they ever called it Rock 'n Roll, but
always on two and four." Stevie Wonder contributed and produced a new
tune for the platter, but Tito Puente's Latin spin on Wonder's "Don't
You Worry 'Bout A Thing" is where the excitement is. Labelmate Norman
Brown smoothes out "Jazz Me", with a Special EFX kind of groove
courtesy
of Chieli Minucci. And Grover Washington, Jr. adds his tasty sax licks
to Michael Jackson's "Another Part Of Me". On the jazz sides,
Dianne
Reeves sings "Take The 'A' Train" and Wallace Roney, Ron Carter,
Roy
Haynes, and Ravi Coltrane put out on "Sweet Lorraine". Something
for
everyone.
BUGS HENDERSON AND THE SHUFFLE KINGS - THAT'S THE TRUTH (Flat Canyon),
71:29
PRODUCED BY: Bugs Henderson
"Warning: This is not elevator music. CRANK IT UP!" state the
liner
notes. Good old fashioned electric guitar blues, raw and live. The
instrumental warm-up "Foreplay" showcases the Texan's chops brilliantly.
"People comment on my fast playing," says Henderson, "but
I was just
born with it. I've spent the last few years trying to slow down, but
sometimes I can't help it." It's followed by the long, slow "Take
Your
Time", espousing the singer's lovemaking advice. "Blue Casino"
and
"Heartbreak Gumbo" are the other standouts. There's an unusual
arrangement of "Johnny B. Goode" and on the show stopping closer,
"You
Can't Sit Down", Bugs sneaks in riffs from some of the most famous
guitar phrases in history. The final track is "Audio Liner Notes",
a
clever idea in which the artist plays alone while talking a little bit
about each song.
HILARY JAMES AND BOB JAMES - FLESH AND BLOOD (Warner Bros.), 46:02
PRODUCED BY: Michael Colina and Ray Bardani
"Taxi" keyboardist Bob James has always had a knack for producing
great
vocalists (Kenny Loggins, El DeBarge on FOURPLAY, Al Jarreau on DOUBLE
VISION), but this time he's "produced" one in a different sense
of the
word. James' daughter Hilary makes her debut with Dad on this fine
collection that includes their preview track, "Storm Warning"
from Bob's
last album, RESTLESS (Warner Bros.). Hilary sings with a mesmerizing
emotional angst and a Bonnie Raitt-like rasp. The single "Just Like
My
Lover", the only tune father and daughter penned together, is the
highlight with an accessible, midtempo beat and a lingering melodic
hook. Two other beauties are "Somebody Make Me Laugh" and the
sentimental title cut that features a 25-piece string section.
JAZZ CRUSADERS - HAPPY AGAIN (Sin-Drome), 65:55
PRODUCED BY: Wayne Henderson
Heavy-duty classic phat Texas grooves are back as original Jazz
Crusaders Wayne Henderson (trombone) and Wilton Felder (sax) reunite
with a stellar lists of guests, including former Crusader associates
Larry Carlton burning on three tracks and killer trumpeter Donald Byrd.
The record has a good share of lush, horn-filled ballads, too.
Keyboardist Bobby Lyle sits in for the absent founder Joe Sample (see
Cool Classics section below). Other surprises include singer Bobby
Caldwell on two tunes, plus the disc ends with a more straight-ahead
number followed by some 90's hip-hop.
THE JAZZMASTERS - II (JVC), 59:13
PRODUCED BY: Paul Hardcastle
We at R&J have never figured out what the difference is supposed to
be
between HARDCASTLE, KISS THE SKY, and THE JAZZMASTERS (all on JVC), but
we can't deny Paul Hardcastle's skill at composing really catchy tunes
under all three names. This follow-up to his (their?) JVC debut again
brings us Paul's patented style of smooth Euro-techno-R&B beats with
more erotic textures than usual, plus tantalizing, seductive vocals by
Helen Rogers on half the tracks. Hardcastle plays almost all
instruments (keyboards, guitars, bass, drum programming), leaving the
cushiony flute and tasty sax work to Phil Todd. The CD as a whole is a
dreamy romance dance.
THE NECKS - SEX (Private), 56:08
PRODUCED BY: The Necks
It's not pure ambient, like Brian Eno, or pure jazz, like Duke
Ellington, but it has elements of both. It's ambient jazz. One long 56-
minute track of dark, sexy mood music played with improvisational
flairs. Chris Abrahams plays the repetitive piano riff, delving into
flourishes of fancy fingerwork here and there. Tony Buck keeps a steady
jazz pace going on the drum kit while enhancing the rhythm with
unexpected nibbles of percussion. Lloyd Swanton rounds out the hypnotic
Australian trio on bass. Originally released in Australia five years
ago, this intriguing Private release is the disc's U.S. debut. It's
exactly the type of record I've been waiting for -- just put it on and
let it go to work on you and your listening partner!
ARTURO SANDOVAL & THE LATIN TRAIN (GRP), 46:55 (+ 4:08 bonus single)
PRODUCED BY: Arturo Sandoval
Volcanic, world-class trumpeter is on a role after his thrilling DANZON
(GRP) from last year. Sandoval returns to his Cuban roots with his new
Latin Train ensemble (which includes Otmaro Ruiz on piano), pays homage
to his bebop heroes Dizzy Gillespie and John Coltrane, and amazes
listeners with his blistering trumpet solos. Rene Toledo adds a nice
acoustic guitar to the serene "Waheera". Included on a separate
CD-
single is a bonus track: an instrumental version of "Colors Of The
Wind"
-- the song from Disney's POCAHONTAS -- produced by Tommy LiPuma.
BRIAN SIMPSON - CLOSER STILL (Noteworthy), 51:51
PRODUCED BY: Brian Simpson
"I've always liked things right in the groove, a total combination
of
the spirits of R&B and jazz," says well-rounded sideman (George
Duke,
Najee, Larry Carlton, Gerald Albright) and hit pop songwriter ("The
First Time" by Surface) Brian Simpson of his solo debut. CLOSER STILL
is a collection of mid-tempo, lightly funky tracks where Simpson's fine
acoustic piano skills travel an enjoyable but predictable ride down a
smooth R&J road without hitting any bumps or surprises. Noteworthy
guests include saxophonist Everette Harp, Hiroshima's Jeanette Clinger,
guitarists Allen Hinds and Jonathan Butler, and labelmate drummer
Michael White.
PAUL TAYLOR - ON THE HORN (Unity), 45:23
PRODUCED BY: Kazu Matsui
If you're ready for the next big newcomer in the R&J sax wars, Keiko
Matsui's sideman Paul Taylor must be entered in the competition! On his
solo debut, Taylor's soprano is what to listen for. The smoothness of
the G-Man, but with more urban crossover appeal. The two openers are
killers. First there's the hooky "Set Me Free", followed by the
pulsating but sweet "Exotica". "When I write, first I strive
to create
interesting rhythms," the Denver native explains. "Once the groove
is
in place, the melodies seem to seep out of my horn naturally." Taylor
composed 8 of the tunes. The remaining 2 are covers: Chic's "I Want
Your Love" (with Paul doing his own singing) and Seal's "Prayer
For The
Dying". Other highlights include the breezy "'Til We Meet Again",
Keiko's piano solo on "Dream Come True", and the alto closer "Time
Is
Now". Kazu's production makes superb use of sampled bass from Marcus
Miller and Abraham Laboriel.
3RD FORCE - FORCE OF NATURE (Higher Octave), 48:29
PRODUCED BY: William Aura & 3rd Force
2nd release from 3rd Force is even more dynamic than their dark but
fascinating debut from last year. More sparkling textures, more
exquisite melodies, and more dazzling chops from the trio of William
Aura, Craig Dobbin, and Alain Eskinasi, all on a myriad of keyboards,
guitars, and percussion. The mosaic of sounds opens up to include
spectacular guest solo spots for Craig Chaquico, Boney James, Gary
Herbig, and the unmistakable guitar of Peter White on "Here Comes The
Night". The playfully quiet "Sundancer", with surprising,
colorful
twists, is a favorite.
URBAN KNIGHTS (GRP), 54:27
PRODUCED BY: Maurice White
It's already been likened to Fourplay -- with an urban bent -- due to
the similar concept of bringing together four jazz superstars. Urban
Knights finds keyboardist Ramsey Lewis and saxophone heavyweight Grover
Washington, Jr., sharing the studio with Weather Report's rhythm
section, Victor Bailey on bass and Omar Hakim on drums. Add in Earth,
Wind & Fire's Maurice White as producer and you've got a project that
really sizzles. Unlike Fourplay, this is not strictly a quartet, with
the megagroup receiving help on various tracks from Freddie Hubbard,
Henry Johnson, Bill Meyers, vocal group The Emotions and even a rapper.
Standouts include the long "Hearts Of Longing" ballad by Hakim,
the
seismic rhythm & jazzer "Friendship", the smooth single "The
Rose",
Lewis' tropical, Spyro Gyra-ish "Urban Samba", and the delightful
closer
"Senegal" -- the only track with all four contributing as writers.
J MICHAEL VERTA - THE PHOENIX (BrainChild), 48:39
PRODUCED BY: J Michael Verta
Turns out Brian Culbertson isn't the only young, contempojazz-savvy
keyboardist to come out of Chicago. J Michael Verta has a definite ear
for the Kilauea market (as if the BrainChild logo alone wasn't enough to
assure the most definitive breeziness of the genre lay inside the jewel
box). The CD soars from the opening title track with killer sax work
from Boney James. Greg Vail also helps out on a few tracks and Grant
Geissman provides the guitar contributions. Bill Cantos' famous
vocalese is a nice touch on the sunny "Siren Of The Serengeti".
Boney
comes back for the Yellowjacket-like melody of "Online". (Verta,
BTW,
can be reached online at JMichaelV@aol.com, and BrainChild Records is at
DWME@aol.com.) The lively funkfest "Saul Steps Out" is another
standout
on this very likable debut record.
AND KEEP YOUR EARS PEELED FOR...
<<<<<<<<<<<<<<>>>>>>>>>>>>>>
THE BOB FLORENCE LIMITED EDITION - WITH ALL THE BELLS AND WHISTLES (MAMA)
Grand big band from masterful players!
THE BRONX HORNS - CATCH THE FEELING (Top Ten Hits)
Fiery Latin jazz big band from Tito Puente's backup band.
HIGHER OCTAVE COLLECTION 2 (Higher Octave) [reviewed below]
2-disc day & night sampler from most innovative label in genre!
DAVID LANZ - BELOVED (Narada)
Best-of collection from best-selling pianist, with 2 new songs.
J.P. TORRES - TROMBONE MAN (RMM/Tropijazz/Sony)
Sizzling Cuban jazz trombone, produced by Paquito D'Rivera.
VARIOUS ARTISTS - CELTIC VOICES: WOMEN OF SONG (Narada)
Beautiful vocal counterpart to CELTIC ODYSSEY and CELTIC LEGACY.
WARNER JAMS VOL. 1 (Warner Bros.)
WB trad-jazzers join forces!
MARK WINKLER - TALES FROM HOLLYWOOD (Unity)
Michael Franks-ish, Hollywood themed, with Dan Siegel (co-prod).
<<<<<<<<<<<<<<>>>>>>>>>>>>>>
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K O R O V A M U L T I M E D I A R E V I E W S
Korova Multimedia
Post Office Box 2036
Novato, CA 94948
CompuServe 70713,1440 Music/Arts Forum, RockNet
America Online DSpalding RockNet
The Microsoft Network DSpalding RockNet
The Digital Dream (UK) http://www.bath.ac.uk/~su9urb/jt/korova/index.shtml
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DIGITAL PLANET, Verity (Atomic City Atom CD 03; 59:07), 1994. Steve
Verity's guided tour to an imagined world is a dreamy, deft excursion.
Sounds of water and bells herald our half-hour splash-down sequence, and
the subsequent suites travel through a world of ethereal, synthesized
desolation. This CD is an unexpected pleasure, one that yields familiar
tranquillity on subsequent spins; those with whom I've shared it
immediately want to borrow it. Currently in limited release, DIGITAL
PLANET is available in San Francisco area Tower Records stores, and via
mail order from Backroads Music, 1-800-767-4748.
ELEVATED, Cyberhum (Carte Blanche Music Carte 40627; 40:15), 1994. Techno
is raucous and excited, ambient is spacey and typically used to drift off
into autohypnotic bliss, and trance combines the two into something ...
you can dance off into a dream state to. English band Cyberhum is here
creating a dance music grounded more in disco, steadying the beat amidst
some metallic and jazzy riffs that cycle and rotate through the songs.
Each track flaunts a slightly different origin, with the same
destination: cool music. The final cut, "The Well," builds from
a random,
fractured edit of disharmonious sounds to a slinking march of samples,
back beat and sweeping synths -- unusual but unavoidably interesting.
Although I can't rate ELEVATED highly, the CD shows promise for future
releases. (I understand that lately the band is working orchestrating a
"virtual tour," in which audio and visual work will be transmitted
to
various clubs via ISDN, and local performers can collaborate with the
downloaded portions. E-mail erick@cyberhum.demon.co.uk for further info.)
EM:T 2000, Various Artists (Instinct/t:me ex.311.2; 130:46), 1995. The
English ambient/trance label, t:me, keeps on releasing really drifty
music that combines rock, jazz and samples from obscure films and TV
programs. This double CD is an ample introduction to the variety of their
offerings, but I shouldn't mislead you. Each track blends into the next,
and the entire suite plays like a very slick soundtrack for a subliminal
message IMAX film (should such a creation ever be produced). Each
musician/group effects a sly melding of the more conventional space music
genre with glossy dance ideology, resulting in a slow canter to chill out
to. Some might find the music a bit monotonous, but I was exhilarated by
the epic grandeur of the Gas cuts "Shockwaves" and "Microscopic."
All of
the tracks blend one into the next, some with spoken components, others
with such anti-ambient elements as guitar, jazz riffs and trip hop
distorted with bagpipes. This CD set was prepared with a 3-D sound
imaging process originally developed for film, and it sounds as lush as
this would indicate -- the soundscape stretches luxuriously from side to
side.
THE EROTIC NATURE OF AUTOMATED UNIVERSES, Mysteries of Science (Instinct
AMB:005.2; 64:54), 1995. Continuing in a bold plan to release great
ambient/trance music monthly, Instinct recently introduced this offbeat
CD. Dominic Woosey here deftly blends the conventional ambient music
(spiced with early space music effects), keeping it aloft with some
deliberate analog flavouring. What I find refreshing about AUTOMATED
UNIVERSES is Woosey's execution: most trance albums start off active and
danceable, then mellow to an inner core of aridity, but this work begins
cool and orbital, and lands with an extended track of more active music.
The final movement, "Interfacing," is a whirling finale of measured
intensity, building and layering to its climax. Where the music isn't
innovative, its presentation is refreshing. Instinct Ambient's continuing
series bears close watching.
HEAVENLY VOICES III, Various Artists (Hyperium 3910118242; 73:30), 1995.
Getting past the obvious gender-specific PC violation of an album
featuring lovely, female vocalists isn't easy when the artwork features
a
haunting image of an attractive woman, bare-breasted, reclining in
subdued light. The apt design of the package suits a long-play collection
of contemporary music that shouldn't be missed. Hyperium has assembled
songs from a variety of independent groups who compose music of the heart
... for the head. Notable contributors include Love Spirals Downwards,
Bel Canto, Miranda Sex Garden, Yoko Ueno, Fairies Fortune, This Ascension
and others. Good for a relaxed study session, or an intimate, midnight
snack with someone special. With so many "alternative" voices
signing up
with the Big Record Companies, it's a treat to find great groups like
these, unencumbered by MTV market pressures, packaged in a great-value
compilation like this.
HIGHER OCTAVE COLLECTION 2, Various Artists (Higher Octave HOMCD 7078;
83:34), 1995. Higher Octave is a source of excellent new age/jazz music,
and this 2-CD set provides the discerning buyer with a breathless
overview of their catalog. Broken up into two discs, Daytime and
Nighttime, the set unleashes a mini-concert of the shining stars of HOM.
Many of the names here will be familiar to fans of "The Wave"-style
radio
stations (in San Francisco, KKSF seems to reign supreme): Alter Eko,
Craig Chaquico, Deuter, Lara & Reyes, Ottmar Liebert, Neal Schon, Shahin
& Sepehr and 3rd Force. Both discs are marvelous, well recommended for
light, background listening; in fact, excellent as backdrop tunes for
your next dinner party.
MYTHS OF THE NEAR FUTURE PART TWO, Mo Boma (Extreme XCD030; 41:35), 1995.
In this second release from a 1993 session, the Australian world beat
band Mo Boma brings forth more of their scintillating music. Taking the
title and (I presume) a lot of conceptual inspiration from the fiction of
J.G. Ballard, band members Carsten Tiedemann, Skuli Sverrisson and
Jamshied Sharifi present world music in a new light, by arranging the
instruments and melodies against trancey suites of synths and ambience.
Sounds easy? Sounds like Deep Forest? Nope, Mo Boma is a well-oiled
concept executed with dedicated finesse. MYTHS OF THE NEAR FUTURE races
forward in a carriage constructed of polyrhythms and folk instrumentation
that belies its futuristic, sleepy spirit. Listening to the music, one
is thrilled by the complexity and spontaneity; focusing elsewhere, the
music diffuses into a veil of subdued music that sneaks into earshot.
From a base Down Under, Mo Boma reaches out to the world with a musical
message that is as enthralling as it is timeless.
-- D.B. Spalding
A self-described multicareerist, D.B. Spalding is a writer, musician,
independent radio producer, computer consultant and online sysop; he
writes frequently about music, film, computing and the mass- and
multimedia.
(C) Copyright 1995 D.B. Spalding. All rights reserved. Please send e-mail
for licensing information.
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COOL CLASSICS by Oliver Dorman
JOE SAMPLE - ROLES (MCA), 1987, 48:03
One of the founders of the groundbreaking Jazz Crusaders, though not
involved with their current release [reviewed above], was the mellifluous
pianist Joe Sample. Many point to his first solo release, CARMEL (MCA),
as not only Sample's best work, but a definitive role model for light and
breezy contemporary jazz albums. Two of his four Warner Bros. releases
found their way into our year-end ten best lists (SPELLBOUND and DID YOU
FEEL THAT?). But his final MCA recording before switching to Warners
doesn't seem to get discussed enough, even by his most loyal fans. If
they don't know about it, they should. ROLES is as good as any Joe
Sample record and is well worth a thorough listening.
The opening cut, with its haunting chorus repeating the humorous and
universally understood title "Woman You're Driving Me Mad", is
an
immediate grabber. Lenny Castro's percussion is superb. "The Gifted"
is
the first of four tunes with a muted horn section featuring Sal Marquez
on trumpet and, of course, a bouncy piano melody from Sample. "Friends
And Lovers" is a slow motion love scene building to dramatic piano
crescendos. The wild "Ego Mania Mambo" is next, including a marimba
solo
by Bobby Hutcherson and fantastic drum work by Sonny Emory. "Gentle
Men", a CD-only bonus cut, is no throwaway. "Fortune Hunter"
gets the
album into a frisky groove again, followed by the equally funky "Fortune
Hunter". Finally, the serene 7-and-a-half minute "Passionist"
closes the
show.
Anyone unfamiliar with this gifted musician should at least check out his
COLLECTION (GRP), a retrospective of his MCA catalog. Only the first
track from ROLES is included there, but don't let that fact fool you into
believing the rest of ROLES contains duds. It doesn't contain a single
letdown.
PRODUCED BY: Joe Sample and Wilton Felder
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ABOUT R&J
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RHYTHM & JAZZ, VOL. 2, NO. 8, Copyright (c) 1995 Dan Margules. All rights
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