The Guitar Channel

Reuters Review of Carlos Santana and John McLaughlin at the Montreux Jazz Festival

Reuters has a nice write-up of Carlos Santana and John McLaughlin's performance last night at the Montreux Jazz Festival.

Reuters: Santana, McLaughlin open Montreux jazz on high note

Chris Taylor Review and Interview at All About Jazz

Ian Patterson has posted an interview with Chris Taylor, and a review of Taylor's debut album Nocturnal, at All About Jazz.

All About Jazz Review: Chris Taylor - Nocturnal

All About Jazz Interview: Chris Taylor: Never Make Your Move Too Soon

Return to Forever IV - M&T Jazz Fest Review at Syracuse.com

Syracuse.com has a review and pics of last night's Return to Forever IV performance at the M&T Jazz Fest.

Syracuse.com: Stars of Return to Forever IV close M&T Jazz Fest with shining set

 

Review: Chris Taylor - Nocturnal

Guitarist Chris Taylor has been around the block a few times. A veteran of the music business for over 30 years, the New York native has written, recorded, and/or performed with artists such as Grover Washington Jr., Lionel Hampton, Randy Brecker and many others. Fusion guitar fans may be familiar with his work with guitarists Ed DeGenaro (Dog House, Less Is Seldom More) and John Czajkowski (West ZooOpolis). Now Taylor has struck out on his own with Nocturnal (Abstract Logix); a stunningly original debut that pushes the boundaries of modern jazz and fusion.

From a harmony perspective, Nocturnal is a jazz record at its core, yet Taylor dresses it heavily with electronica and industrial influences that wash the listener in a cornucopia of sounds and samples. While the use of these textures in jazz fusion is not unprecedented - the music of Uncle Moe’s Space Ranch and Alex Machacek comes to mind - Taylor’s thoroughly integrated application of these ideas in a jazz context feels very new. As a result, the whole album hits you as a bold,  fresh statement, especially when you consider this is Taylor’s first recording as a leader.

Though Nocturnal is clearly Taylor’s brainchild, he hardly goes it alone here as he is joined by a remarkable lineup of top-shelf musicians including drummers Dave Weckl, Gary Novak, Joel Rosenblatt, Kirk Covington and Tracey Kroll, bassists Ric Fierabracci, Gary Hease and Kevin Freeby, keyboardists George Whitty, John Findlay and Scott Kinsey, saxophonist Steve Tavaglione, and guitarist John Czajkowski. One look at these names should tell you that despite any preconceived notions you may have about terms like “electronica” or “samples,” this is still a players album. It also happens to be one of the most creative records to hit the modern jazz scene in some time.

Taylor’s playing style is quite unique. His solos are peppered with exploratory lines that flow from a strong jazz vocabulary with a heavy ‘outside’ skew, yet he plays with a light attack that forgoes the flash and shred often heard from contemporary fusion guitarists. Imagine a player with the harmonic sense of Allan Holdsworth and the touch of Allen Hinds and you’ll start to get the idea. From the tonal side of things, Taylor generally goes with “stratty” sounds with just enough gain to add some punch without getting too crunchy - the perfect tone to match his dynamic, legato style.

Nocturnal’s opening track “Voices in My Head” gives a strong indication of what’s in store for the rest of the disc. Tavaglione’s prominent sax work and Taylor’s swinging solo create an obvious jazz mood, yet samples and backwards effects are sprinkled throughout the mix to create a sonic landscape that’s as unexpected as it is cutting edge. This “cinematic jazz” approach is utilized throughout the album, though on some tracks, such as the beautiful, eastern-tinged “Nocturnal,” and the hauntingly evocative “Recluse,” Taylor leans more heavily in the “soundscape” direction to create pieces that are more like aural paintings than traditional songs.

Taylor has cited Weather Report as an influence, and “Ear To The Rail” is clearly an homage to that groundbreaking band, and their torch bearers Tribal Tech. The song’s groove and vocal accents strongly reflect the music of Weather Report founding member Joe Zawinul, while Taylor’s solo on this tune is dripping with Scott Henderson-esque blues phrases. Another standout track is “You Know What I’m Saying?” - a great piece of fast modern jazz, again augmented with samples and sound effects to tweak the ear. Taylor takes one of his best solos on the album here, as he strings together one great outside line after another. Tavaglione and keyboardist Scott Kinsey also make great contributions on this piece.

The most straight-laced song on Nocturnal is likely “Green Divided By Blue.” Save for the intro, the sonic effects are held to a minimum on this track in which everyone involved turns in a killer performance. Ric Fierabracci’s stellar fretless playing is a major factor in the overall mood of the song, as is Tavaglione’s great tenor work.

Whereas “Green Divided By Blue” largely eschews the genre bending production devices employed throughout the rest of the album, the next track is practically defined by them. “All Of Us” is a radical mash-up of jazz and electronica that starts off like a spaghetti western-themed rave. George Bush sound bites mingle with driving beats and copious amounts of sampled percussion in a head-spinning industrial techno onslaught, before the song morphs into a slow, simmering blues-inflected groove. Fierabracci really shines on this tune, especially with his licks in the intro. Despite all of that, it’s Taylor’s guitar work that truly defines the song. His understated phrases are the perfect ingredient over the track’s busy production, and the classic vibe effect he employs is the coolest guitar tone on the album.

Some of Taylor’s best playing on Nocturnal can be found on “Bela” - a fantastic tune that features some creepy Bela Lugosi spoken-word samples. Taylor’s solo on this track is arguably his jazziest on the whole record. He not only pours out tons of great lines (some of which reflect a John Scofield influence), but also demonstrates a deft use of volume swells - a technique he employs regularly throughout the disc. Whitty’s keyboard solo on this song is also one the great treats of this album.

“Here To There” is a chimey  piece full of arpeggiated guitar parts and swirling backwards sounds that begs the use of headphones to get the full effect. Tavaglione’s use of a harmonica patch for his EWI is a perfect fit here. The deep growling “Odd Hours” closes the album in strong fashion with a Jeff Beck-like low register melody, and killer playing from Tavaglione and drummer Kirk Covington. Things get nasty late in the tune when John Czajkowski comes in with some uber-heavy power chords played on baritone guitar.

With Nocturnal, Taylor, the long time sideman, clearly establishes himself not only as an artist in his own right, but as a highly original voice in modern jazz. Had he not incorporated samples, or any other post-production atmospheric elements, this would still stand as a fine debut full of creativity and depth. By so thoroughly and seamlessly weaving these “non-jazz” textures into his music, however, Taylor brings a fresh vision to the genre that is exciting and innovative. Nocturnal is a captivating release that is hopefully the first of many to come from this fine guitarist and composer. Highly recommended.


Chris Taylor - Nocturnal (Abstract Logix)

Personnel:

Chris Taylor - Guitar, Keyboards, Programming
Dave Weckl, Gary Novak, Joel Rosenblatt, Kirk Covington, Tracey Kroll - Drums
Ric Fierabracci, Gary Hease, Kevin Freeby - Bass
George Whitty, John Findlay, Scott Kinsey - Keyboards
Steve Tavaglione - Saxophone, Woodwinds, EWI
John Czajkowski - Baritone Guitar
Francesca Russo - Voice


Tracklisting:

1. Voices In My Head
2. Ear To The Rail
3. Nocturnal
4. You Know What I’m Saying?
5. Green Divided By Blue
6. All Of Us
7. Bela
8. Recluse
9. Here To There
10. Odd Hours

 

Rich

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Review: Ed Dampier - Blues Deluxe

Blues Deluxe is the self-released instrumental debut from UK-based guitarist Ed Dampier. The tight 7-song set has Dampier combining the styles and tones of such classic players as Jimmy Page and Jimi Hendrix with a heavy dose of twang, and Eric Johnson-like modernism. Though Dampier is a solid player with a ‘classic rock’ leaning feel, the songs themselves are what make this a fun record.

On the in-your-face opener “Overture,” Dampier uncorks a barrage of rapid fire open string pull-off licks that never lets up. It sends the dead-on message that this is going to be a ‘Strat rock’ album with bluesy shades and catchy riffs. “Sidewinder Blues” - one of the album’s best tracks - has a more laid back, almost country-rock feel that’s propelled by Dampier’s snappy clean tones and Andre Antonio’s Hammond organ. The melodies in this song are great too - very memorable and anthemic. Dampier peels off some nice leads here as well with a smooth overdriven tone.

After the Eric Johnson-esque solo electric interlude “Snowfall In Spring,” things get funky on the uptempo “Two Worlds Collide” - a cool track, though it may have benefited from some supportive keyboard work, ala “Sidewinder Blues,” to add some background beef. On “More Love More Power,” Dampier presents a dramatic ballad full of great chordal work and dynamic leads. Portions of this tune reminded me of “Villanova Junction" from Hendrix’s Woodstock performance.

The album’s magnum opus, however, is “Archipelago.” This is an epic tune of Zeppelin proportions that begins subtly by introducing the main riff via solo acoustic guitar, before layering on more themes, guitar tones and instrumentation as the song moves forward. It’s easily the album’s finest showcase of Dampier’s overall talents.

In stark contrast to heaviness of “Archipelago,” the album closes with the fingerstyle acoustic piece “Cascades” - a ringing ballad that shows Dampier’s softer side while maintaining a Pierre Bensusan-like jauntiness throughout.

If you’re a fan of twangy blues rock and bright, clear strat tones, Blues Deluxe is an album you can leave on and enjoy from beginning to end. With this disc, Dampier demonstrates a knack for writing catchy tunes with a focus on melody and strong riffs as opposed to endless solos. This is definitely an artist to keep an eye on.

Ed Dampier - Blues Deluxe

Personnel:

Ed Dampier - Guitars
Yves Fernandez - Bass
Ed Carlile - Drums
Andre Antonio - Keys and Percussion

Tracklisting:

1. Overture
2. Sidewinder Blues
3. Snowfall In Spring
4. Two Worlds Collide
5. More Love More Power
6. Archipelago
7. Cascades

 

Rich

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Scott Henderson Review and Interview at Jazzuality.com

Thanks to JP at Strat-O-Blogster for the tip on this one... Jazzuality.com has a new interview up with Scott Henderson, as well as a review of his March 20th gig at the Hard Rock Cafe in Jakarta.

Jazzuality Live Review: Scott Henderson Trio - Hard Rock Jakarta

Jazzuality Interview: Scott Henderson

All About Jazz Reviews Ultimate Zero Live

John Kelman has a review up of the Ultimate Zero Tour - Live album at All About Jazz. The 2-disc set features songs recorded during the prog-rock super group's 2009 tours. The various lineups on the disc include bandleader Eddie Jobson - violin and keys, John Wetton - bass, vocals and acoustic guitar, Greg Howe - guitar, Tony Levin - Chapman Stick, Trey Gunn - touch guitar, Ric Fierabracci - bass, and Marco Minnemann & Simon Phillips - drums.

All About Jazz Review: Ultimate Zero - Live

 

Review: Ray Ferretti - Leaf Juice

Leaf Juice (Vectordisc) is Ray Ferretti’s follow up to his 2009 debut Nice View (Vectordisc). It’s a strong sophomore release for the Philadelphia-based fusion guitarist, as it showcases a natural progression in his writing, playing, and use of guitar tones. Ferretti largely goes it alone on the new disc - providing all of the guitar and bass, the drum programming, plus most of the keyboards - though he is joined sparingly by co-producer Ron Thomas on electric piano and synths (two tracks), pianist Jonas Aras (one track), and vocalist Kristi Lynn Kosh (one track).

Ferretti is a jazz rock fusion musician through and through. That is to say - no matter what other styles he brings to the table, he’s usually fusing them with jazz-flavored harmony, and rock guitar tones or rhythms. Funk is one such style that Ferretti utilizes quite effectively on Leaf Juice. “Henso,” “Chris Funker,” and the Oz Noy-like “Where’s My Car” all feature great funk grooves, mixed with jazzy lines and heavy tones. “Namaste Nepal” has Ferretti mixing in some “tropical” influences on a piece that sounds very much like something Frank Gambale might write. Kristi Lynn Kosh provides some nice vocal accents on this track as well. Other songs such as “The Crooked Straight” and “Dr. Pizza” lean in more rock-oriented directions, yet still include shades of jazz (the overlapping guitar lines leading up to Ferretti’s go-for-broke solo on “Dr. Pizza” is one of the best moments on the album).

Leaf Juice includes some nice ballads as well, such as “Dancing With The Angels,” and “Song For My Mother.” Both feature great writing and playing, though Ferretti relies solely on his clean tones for “Dancing With The Angels” for an airy, pared down mood, whereas “Song For My Mother” is more keyboard oriented and includes some high-gain guitar work.

Overall, the strongest song on Leaf Juice may be its title track which features great solos by both Ferretti and keyboardist Ron Thomas, cool chord changes, and a solid “west coast jazz” feel.

All of the percussion on the album is provided by Ferretti’s drum programming. While this usually suits the song fine (and is often impressive in its complexity), some pieces - such as the rhythmically busy “One Easy Step” - would benefit greatly from the touch and feel of a real drummer. Still, as was the case with Nice View, Leaf Juice is a fine showcase of Ferretti’s compositional and playing skills, and is quite an accomplishment considering the tools he had at hand.


Ray Ferretti - Leaf Juice (Vectordisc)

Personnel:
              
Ray Ferretti - Guitar, Bass, Keyboards, Drum Programming
Ron Thomas - Electric Piano, Synths
Jonas Aras - Electric Piano
Kristi Lynn Kosh - Voice

Tracklisting:

1. The Crooked Straight
2. Voices
3. Namaste Nepal
4. Dancing With The Angels
5. Chris Funker
6. Leaf Juice
7. Eyzs Know
8. Ant Knee
9. Song For My Mother
10. Henso
11. Dr. Pizza
12. Where's My Car
13. One Easy Step
14. Bored Under Water

 

Rich

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John McLaughlin & The 4th Dimension Live Review at The Grateful Web

The Grateful Web has a nice writeup of the December 4th John McLaughlin show in Boulder, CO.

The Grateful Web: John McLaughlin & The 4th Dimension | 12/4/2010

All About Jazz Reviews Day Two of the New Universe Music Festival

John Kelman has posted his review of the second and final day of the New Universe Music Festival at All About Jazz. Great write-up.

All About Jazz Review: New Universe Music Festival: Day 2, November 21, 2010

All About Jazz Reviews Day One of the New Universe Music Festival

John Kelman has written an excellent, extensive review of day one of the Abstract Logix New Universe Music Festival for All About Jazz. I'm sure a day two review will be posted soon.

All About Jazz Review: New Universe Music Festival: Day 1, November 20, 2010

Ranjit Barot's "Bada Boom" Reviewed at All About Jazz

John Kelman has reviewed Indian drummer Ranjit Barot's excellent east-meets-west fusion album Bada Boom for All About Jazz. The guests on this disc include John McLaughlin, Wayne Krantz, and Matt Garrison among others.

All About Jazz Review: Ranjit Barot - Bada Boom