The Plot
A Tribute to Wayne, Tony, & Jaco
The up-tempo snare drum-bass drum work against the burnin' ride cymbal is some first-class stuff. It's a good bet this band has done some amazing live shows, with chops like that to work with.
This is a hot track--it brings to mind some of the free-jazz jamming Tony Williams and Jaco Pastorius did in the intro to "Punk Jazz," way back when.
The soprano sax has a great, round sound, and is in tune throughout the production (an amazing feat--I know about 2 sax players who play consistently in tune on soprano). There are some interesting lines, some pensive legato work against a frenetic and electrically-charged accompaniment that provide a sort of spiritual duality--like a lone seagull floating above a feeding frenzy on a reef.
On second listening, the "static" isn't quite as troubling as it was the last time I heard this. Without some of the electronic effects the total output might be clearer and cleaner, but it probably wouldn't have the manic energy provided by all the sampled content. And without that experimental sentiment, this really would be a re-hash of a sound that's already happened. As it stands, this is a fresh update of that sound era. It's good to hear people messing with combinations of recorded sound effects and live playing--while that's not exactly a NEW concept, there's so much room to grow in that area that it's sort of like the "final frontier." It works especially well as a breather, like the spots in the middle of the tune where the rhythm section drops out and it's all SFX. Those couple of spots help to give what happens around them a boost of energy.
Especially in the jazz arena, where it's hard to find musical ideas that weren't done better 30 years ago by someone else, it's this kind of stuff that's going to keep the art form evolving and mutating into something new.
A Tribute to Wayne, Tony, & Jaco
The up-tempo snare drum-bass drum work against the burnin' ride cymbal is some first-class stuff. It's a good bet this band has done some amazing live shows, with chops like that to work with.
This is a hot track--it brings to mind some of the free-jazz jamming Tony Williams and Jaco Pastorius did in the intro to "Punk Jazz," way back when.
The soprano sax has a great, round sound, and is in tune throughout the production (an amazing feat--I know about 2 sax players who play consistently in tune on soprano). There are some interesting lines, some pensive legato work against a frenetic and electrically-charged accompaniment that provide a sort of spiritual duality--like a lone seagull floating above a feeding frenzy on a reef.
On second listening, the "static" isn't quite as troubling as it was the last time I heard this. Without some of the electronic effects the total output might be clearer and cleaner, but it probably wouldn't have the manic energy provided by all the sampled content. And without that experimental sentiment, this really would be a re-hash of a sound that's already happened. As it stands, this is a fresh update of that sound era. It's good to hear people messing with combinations of recorded sound effects and live playing--while that's not exactly a NEW concept, there's so much room to grow in that area that it's sort of like the "final frontier." It works especially well as a breather, like the spots in the middle of the tune where the rhythm section drops out and it's all SFX. Those couple of spots help to give what happens around them a boost of energy.
Especially in the jazz arena, where it's hard to find musical ideas that weren't done better 30 years ago by someone else, it's this kind of stuff that's going to keep the art form evolving and mutating into something new.
Reviewed by: noiseartist from Muncie, Indiana ![[flag]](http://www.garageband.com/images/flags/us.gif)
posted by Cyril at 4:53 PM
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