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If you are an avid Bon Jovi or Nickelback, please step away from this review. Morgue are a brutal death metal band from Quebec, Canada who aren’t afraid to steal infants, grill them at a barbeque and not bother offering any leftovers. In other words, this is pretty sinister stuff for the genre, where the drums constantly bash at a frantic pass, the guitar and bass riffs sound like furious saws, and the vocals go back and forth from demonic Cookie Monster vocals to someone screaming for their life hoping and wishing for death to arrive.
Most of Flames & Blood may sound as if these guys just put themselves on automatic and went out of their way to just turn things up for the love of death and Satan, but within these songs are some nice arrangements and themes that don’t stay at one place for long. “Destinee Funeste” reminded me a bit of Megadeth mixed in with Kreator and Testament, where textures within the song will change color, helping to give the song a great dynamic than isn’t expected. If you’re thinking Voivod, you’re getting warmer. Most of the songs are done in French, and while I’m not able to understand the lyrics, I’m sure French-speaking fans will enjoy this greatly.
(Flames And Blood can be ordered directly from the band through the official Morgue MySpace page.)
It’s hard to say if it was spirituality that was brought to jazz, or if jazz was brought to spirituality. Either way, the union between the two has been strong throughout jazz’s history, whether it’s the musicians sharing their beliefs, or the music being a means to heal. What Dave LeMieux & House Of Soul do with Jazz Shaped: Live At The Soiled Dove (self-titled) is show the healthy exchange between the two, and even if you are not spiritual or religious, you can still feel a sense of admiration and power in these songs.
The album begins with John Coltrane‘s “Acknowledgement”, done like the original, before it goes into a soulful interpretation of Pharoah Sanders‘ “The Creator Has A Master Plan” (from his Karma album). It’s a unique twist to a Sanders classic, the purist in me wants to say “no, no one should mess up this song” but it’s cool to hear what a song like that if performed in a completely unexpected context from the original. Their take on the almost-mandatory jazz song “Giant Steps” is brilliant, and I love what LeMieux and the band were able to do by making this jump and scream.
The rest of the album balances itself between bebop and soul/R&B, all of which are united by a calling for “the one”, and it very much works. Everything can be Jazz Shaped if you allow your mind to do so.
The description of this CD hits it on the head perfectly: “Latin-flavored guitar jazz in a quintet setting”. Imagine yourself surrounded by Wes Montgomery and Pat Martino at a winery or art gallery. This is the kind of laid back jazz you’ll find on Frank DiBussolo‘s Average White Cats (Lost World). The cover photo shows two white cats, but the title is of course a jazzy reference to the musicians who appear on the album, who are mighty fine on their instruments, regardless of skin tone.
My two favorite songs on this CD are the two longest tracks, the 7:10 “Loco Linda” and the 8:23 “Una Samba Pequena”, which allows DiBussolo to do brilliantly on his guitar while the band push each other towards success without ever forgetting DiBussolo is the leader.
The music never goes over the top nor does it hold back, its brilliance is in what is right there coming out of the speakers. DiBussolo and friends are far from just average.
Jacob Duncan, John Goldsby, and Jason Tiemann are the musicians behind a grand album called The Innkeeper’s Gun (Bass Lion), an album that caters to the ECM way of jazz with a bit of a more modern approach, with hints of funk and hip-hop in a very subtle manner. Think of what Medeski, Martin & Wood have done in the last 15 years, and give that a German perspective. That’s what Duncan, Goldsby, and Tiemann do in the 8 tracks presented here, where substance and musicianship can sometimes be interrupted with just a sense to create noise, and fall back into place challenging the listener to figure out what’s going on.
Duncan’s saxophone work reminds me of Phil Woods‘ style of playing at times, where it sound as if he’s walking around looking around for the right scenery and boom, he hits you with flash and power, and he traps you with the kind of playing that just grabs you. Goldsby and Tiemann are a tight rhythm section who are locked in unision, but enjoy playing as if they’re doing things independently from each other. They speak an unspoken language that just sounds and feels right, and you want to know where they will take each other and Duncan next.
Jazz that will take you on a bumpy voyage? Take that trip towards The Innkeeper’s Gun and you’ll want to continue the ride many times over.
Kristin Porter is a jazz vocalist who starts her 5-song EP, By The Light Of The Moon (self-released) in a manner that sounds like she just came in from the 30′s or 40′s. But with “Teach Me Tonight”, there’s a little soul and funk in her sass, showing that she isn’t strictly a jazz traditionalist, but someone who wants to cater to all styles and eras of jazz. “Light Of The Moon” is one of two originals on the album, and this is a song that would work if she gave it an adventurous remix. As is, it sounds like… well let’s see. Imagine Manhattan Transfer mixed up with John Mayer, Donavon Frankenreiter, with Maria Muldaur. There’s a slight reggae groove to this, I believe it is intentional, I could see someone like Paula Fuga turning this into a new anthem amongst the jam band set. Then Porter returns to something more traditional with “Moody’s Mood For Love”, which sounds like the kind of pop tune that should be dominating the airwaves today, something with a lot more class than what’s going on.
I like Porter’s voice and song choices, I’m curious to hear what she would be able to do with a full length, with the right executive producer and special guests. As it stands, By The Light Of The Moon sounds like the music of someone who has been waiting for a long time to share her gift of music to the world.
It didn’t air live, but the folks behind the @AOTS account at Twitter were looking to utilize their Twitter wall on air for the G4 show, Attack Of The Show, and asked for people to send in a few messages before they went to air. Any messages that were used, they’d take a photo and use it. Mine made it.
It’s one of his most celebrated albums in a discography full of classics. Curtis Mayfield‘s album Curtis will be released by Mobile Fidelity Sound Lab as part of their Ultradisc II™ 24 KT Gold CD series.
This is his first solo album away from The Impressions and features great tracks like “(Don’t Worry) If There’s a Hell Below, We’re All Going to Go”, “We the People Who are Darker than Blue”, “Miss Black America”, and “Give It Up”. This will no doubt be the best way you’ll ever hear Curtis, and one hopes this will stop the neglect of giving soul and funk albums the audiiophile treatment, or at least remaster them the way it should be done.
For those who are new to audiophile discs, it is more expensive because it is a 24k gold CD, and it is the album proper, no bonus tracks. Curtis is an album that has become a personal favorite for countless fans, even those who will say that THIS is his best LP.
No word on if MOFI will release this on vinyl, but if it will be, I’ll let everyone know. Until then, you can order the gold audiophile CD of Curtis directly from MOFI.com.
Blondes are a duo from Brooklyn, New York who have been making crowds swol. While they’re out corrupting the youth with their addictive songs for the dance floor, they’re ready to release a 5-song album (they’re calling it an EP but it is officially album length) on Merok called Touched. It will be released on June 28th, but you can pre-order your copies by clicking here (CD’s are available too.)
(For a preview of the album, you can download an MP3 of “Spanish Fly” by going to Pitchfork.com.