JAMES BLOOD ULMER - ODYSSEY
James Blood Ulmer "Odyssey" Album Review
Amazon.com
Odyssey Band is a reprise of a group that first enjoyed popularity in 1983. Back in the day, James "Blood" Ulmer, Charlie Burnham, and Warren Benbow were the harbingers of great black rock. The essence of Odyssey's sound is in the collusion of Ulmer's droning guitar and Burnham's wailing violin. Eschewing a bass player altogether, the two instruments blend with Benbow's drumming into a wholly aggressive sound. While Odyssey is an instrumental ensemble, Ulmer's mush-mouthed vocals do grace a few songs on this disc. <I>Reunion</I> features several long explorations of passionate interplay between three dedicated musicians. A disciple of jazzman Ornette Coleman's harmolodic theory, Ulmer alternates his distinctive guitar between Eastern-style drones and skittering, stinging lead lines to reveal a commitment to gut-bucket blues. <I>--Mitch Myers</I>
Video Warren Benbow/L. A. Odyssey/Arizona
Soundtrack composed by Kenn Michael from Warren Benbow CD "L.A. Odyssey". CD available on iTunes. Footage shot by Kenn Michael. Video edited by Warren Benbow
STANLEY TURRENTINE - STRAIGHT AHEAD
Stanley Turrentine "Straight Ahead" Album Review
Great CD, don't get ripped OFF!!
This is a great Turrentine recording. Excellent groovy work from Jimmy Smith,Ron Cater and George Benson on solos and backup.<br>However!!.....Don't get ripped of by "Rasionette" Amazon Seller by paying them $100.00. It is shamefull to ask that much money for a disc that even they admit has scratches on it.You can find it for less elseware! Forwarned!!
Video "Reverend Stee" The N.Y.Powerhouse Ensemble
"Reverend Stee"; A Tribute to Stanley Turrentine; Music Composed by Mickey Bass (c)1994 LOB III Music Co. "The New York Powerhouse Ensemble": Bobby Watson on Alto Sax, Steven Scott on Keyboards, Mickey Bass on Bass, Eric Allen on Drums, Charles Davis jr. on tenor sax @ "Jammin' on The Hudson" Riverbank State Park, N.Y.C. July 2006.Produced by "Brownstone Entertainment 2" Lee O. Bass III, President.
SUSIE IBARRA - FOLKLORIKO
Susie Ibarra "Folkloriko" Album Review
One of the great things about Susie Ibarra . . .
. . . is that she doesn't rest on her laurels. Her most recent cd before this one was the highly praised and greatly accomplished Songbird Suite.<p>Folkloriko, her latest, represents a significant departure. Lacking the manifest gorgeousness of several of Songbird Suite's songs ("Azul" and "Passing Clouds"), it seeks to achieve a different effect and response. This is almost jazz "program music," analogous to, perhaps, The Moldau by Smetana. With this ambitious disc, Ibarra seeks to present a sound picture of what a day in the life of a Filipino immigrant worker might look (or, perhaps better, feel) like. Thus, it is seldom conventionally "pretty," although hardly ever is it less than heartfelt and arresting.<p>One thing that immediately stands out is violinist Jennifer Choi's timbre. Often harsh, even almost grating, she approaches the sound signature of both clarinet and piccolo. Not always instantly appealing, her approach, perfectly apposite in context of the thematic material, slowly grows on the listener, finally winning him over. The addition of an entirely sympathetic Wadada Leo Smith on three selections not only broadens the soundscape, it also ups the vigor ante almost off the scale.<p>Containing songs that would seem only marginally related to Filipino immigrant experience (e.g., "Awit Sa Trabaho," sounding suspiciously like an American Indian anthem, and "Ang Sayaw," a mesmerizing waltz), Folkloriko nevertheless scores big. Perhaps these songs have an intimate connection to Filipino music, perhaps not; in any case, they nevertheless wonderfully conjure immigrant sensibilities. With "Palengke" things begin to go in a noticeably "out" direction. Fine by me. This and the three subsequent songs represent some of the more daring sound configurations one might encounter in modern jazz, esp. the violin-trumpet duet featured on "Palengke," a virtuoso-yet-totally-approachable number, if ever there was one.<p>A word about Craig Taborn, who seems to be popping up almost everywhere. Relegated to a supporting role throughout much of this disc, when he finally gets a chance to shine (on "Paniniwala"), he makes the most of it, displaying not only monster technique, but an entirely engaging neo-romantic modernist approach to this solo piece.<p>The deeper one ventures into this entirely remarkable music, the greater the rewards. Surprising instrumental conceptions blend with equally unexpected timbres to produce a unique sound signature, which, despite its alienness, eventually wins the listener over by virtue of its sonic splendor.<p>A note on the cover art, which features a riveting image of two obviously WASP young women casually though artfully perched on the hood of what looks like a late forties Chrysler in front of a California Central Valley orange grove. Somehow this image, seemingly 180 degrees opposite of Filipino immigrant labor concerns, magically captures the vibe of what's happening here, if only by odd juxtaposition. <p>All in all, this is simply a spectacular disc, rocketing the already meteoric career of Susie Ibarra even higher into the stratosphere.
MATT DUSK - TWO SHOTS
Matt Dusk "Two Shots" Album Review
Absolutely a very good one!
I heard the song 'two shots' once on the radio and bought the entire album, and i've gotta say: i just loved it; the voice, the songs and the whole thing.
Matt Dusk is definitely a great new surprise, and I'm sure we'll be hearing more of him...
Video Matt Dusk - Two Shots Of Happy One Shot Of Sad
Matt Dusk - Two Shots Of Happy One Shot Of Sad muisc video written by U2: Bono and The Edge
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