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“Holy crap!” may not be the most obvious way to start a review for a jazz album review, but David Caceres opens up his self-titled album (his fourth) with a cover of Maxwell’s “Symptom Unknown”, which is a bold move for any jazz artist. Some jazz purists will say “do nothing but the standards” but as someone who reviews a good amount of jazz, I want to hear something other than the accepted standards. In this case, Caceres shows his skills as a vocalist and saxophonist that brings the song back to its introspective home to create a bit of a temple of church, where you and only yourself becomes your own place of worship to figure out what you must do to get from here to there. I was blown away by his performance, as his voice shows qualities that remind me of the warmth of Black Crowes’ Chris Robinson and Corinne Bailey Rae. How about Maxwell? It’s very much a Maxwell song, but it sounds nothing like him and probably isn’t meant to. It’s a fantastic way to start the album, which then moves into a cover of Ray Lamontagne’s “You Can Bring Me Flowers”, bringing a jazzy New Orleans bravado into Lamontagne’s celebration of the American spirit, adding more spices into what’s already there. By Caceres singing the line “you can bring me flowers when I’m dead and gone” is his way of saying “yes, I have too much to do, don’t honor me now, I don’t want that. Put me to work, or let’s work together”. With two songs, he is bringing the listener into his community like a pied piper, hoping people will want to join him on his journey.
Van Morrison gets the funky/Northern soul vibe with a nice rendition of his “The Way Young Lovers Do”, sure to become sample-fodder for select producers and DJ’s, while “Giving Up” (a Van McCoy original that was covered by both Gladys Knight & The Pips and Donna Hathaway) is one of those that will make those cold nights warm. When Caceres wants to, he could be a heartbreaker for the ladies with his voice, and one could easily see him beign up there with Robin Thicke and Remy Shand. However, Caceres hasn’t run off to a hidden corner in Canada nor does he want to be novel for the sake of trying to put value in other people’s relevance. This is Caceres on his own terms, someone who wants to display his skills into the words of others, an interpreter, an arranger, an artist with a lot of range and depth. While the majority of his album are covers, including tracks by Stevie Wonder and Herbie Hancock, he does offer two of his own compositions, “Gratitude” and “Sacred Path”, which brings things back to his jazzy roots, and it’s not a bad place to be in. One can then here how he was rooted to hearing more, or hearing other music inside and out to become who he is here, and what he may continue to do for the rest of his musical career.
I must say, if more jazz vocal albums was like this, you’d hear a lot more of this everywhere and not just in a small pocket called jazz. Forget age barriers and whatnot, this is music for everyone. To everyone who does take time to hear David Caceres: take time to pass this along to the next man or woman and spread the word.
When it comes to the music of Herbie Hancock, you can’t help but just listen and enjoy pure beauty. So is the case with The Imagine Project (Hancock), an album where Hancock dips into the pop world and collaborates with a wide range of artists that help bring forth the last lines in the chorus of John Lennon‘s “Imagine”: “I hope some day you will join us, and the world will live as one”. Can one imagine a world without boundaries? That’s what Hancock attempts to do with this album, which features Anoushka Shankar, Los Lobos, Dave Matthews (whose approach to The Beatles‘ “Tomorrow Never Knows” sounds a lot like Peter Gabriel), India.Arie, P!nk, Juanes, and Chaka Khan among many others.
Don’t expect for every song to be completely mindblowing, you can put on your elitist hat for a few songs or two but then allow yourself to open up and hear the album for what it is: a musical journey where artists, sounds, influences, and cultural divides come together for the sake of doing so, without thought of exploitation clauses in recording contracts. Hancock continues to show why he is a musician with a need to play and move people with his music, but as this is a pop-oriented album, there are times when the music is bigger than Hancock. Sure, I would’ve loved for him to freak the fuck out and get into Mwandishi mode with Dave Matthews as they turned “Tomorrow Never Knows” inside out, but what you hear is a more mainstream approach to the freak out, a lighter dose of the psychedelic haze that through Hancock makes the listener realize it’s all a mind game with no chemical enhancements whatsoever.
The Imagine Project fits in with what Hancock has done in the last ten years, and with luck,fans of the collaborating artists will move them to explore Hancock’s catalog, currently six decades deep.
Herbie Hancock recently released his new album, The Imagine Project (Hancock), featuring a diverse selection of musicians and singers, including Derek Trucks, India.Arie, Chaka Khan, Juanes, John Legend, and Los Lobos. Here, Hancock has a jam session of sorts with the legendary Indian musician, Pandit Ravi Shankar, with help from longtime associate and friend, George Duke.
Herbie Hancock is celebrating his 70th birthday today, and we’re only a quarter of the way into the year. Hancock has not only a new album on the way called The Imagine Project, but will be going on tour in support of it. Tentative Grammy nomination? We’ll see.
Here’s a video teaser for the new album, and you’re also able to download a free MP3 called “The Song Goes On”.
If you want to celebrate and hear more of this man’s extensive/deep catalog, check out what’s on sale at Amazon.com.
'Ōlelo Community Media
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Big And Loud Podcast
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A podcast about favorite comedy records, on vinyl of course
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The show is no more, but you may explore the archives of this great Portland-based podcast while you can. You may now listen to Cort & Bobby in Welcome To That Whole Thing, listed below.
Spilled Milk
Food-related podcast going into different foods with each episode.
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The Cort & Fatboy Show is over, but now you can hear Cort Webber and Bobby Roberts in something new and different.
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100 Albums, 100 Weeks
A music blog by Madison M., a true music fan whose goal is to review 100 albums in 100 weeks. Wish her luck and don’t be afraid to make a few suggestions.
Comedy On Vinyl
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Music from the 70′s and 80′s, honored in a very geek like fashion. A show in Minneapolis hosted by Ron “Boogiemonster” Gerber on KFAI-FM
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Discovered this book review blog when someone had posted a review of a music book. Went through it and saw a number of books I immediately put on my want list. Created by Maria Popova and features a number of contributors.
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Cortandfatboy
The show is no more, but you may explore the archives of this great Portland-based podcast while you can. You may now listen to Cort & Bobby in Welcome To That Whole Thing, listed below.
Lisa Orth
I knew of her as a graphic designer and the founder of Big Flaming Ego Records, now Lisa Orth has her own website showing her designs, including as a tattoo artist
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Seamerias
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Whipped
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“Holy crap!” may not be the most obvious way to start a review for a jazz album review, but David Caceres opens up his self-titled album (his fourth) with a cover of Maxwell’s “Symptom Unknown”, which is a bold move for any jazz artist. Some jazz purists will say “do nothing but the standards” but as someone who reviews a good amount of jazz, I want to hear something other than the accepted standards. In this case, Caceres shows his skills as a vocalist and saxophonist that brings the song back to its introspective home to create a bit of a temple of church, where you and only yourself becomes your own place of worship to figure out what you must do to get from here to there. I was blown away by his performance, as his voice shows qualities that remind me of the warmth of Black Crowes’ Chris Robinson and Corinne Bailey Rae. How about Maxwell? It’s very much a Maxwell song, but it sounds nothing like him and probably isn’t meant to. It’s a fantastic way to start the album, which then moves into a cover of Ray Lamontagne’s “You Can Bring Me Flowers”, bringing a jazzy New Orleans bravado into Lamontagne’s celebration of the American spirit, adding more spices into what’s already there. By Caceres singing the line “you can bring me flowers when I’m dead and gone” is his way of saying “yes, I have too much to do, don’t honor me now, I don’t want that. Put me to work, or let’s work together”. With two songs, he is bringing the listener into his community like a pied piper, hoping people will want to join him on his journey.
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