Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Magic Number’s Album Is Everything You Would Expect

From their name, Magic Number’s album Yeah Yeah Yeah is what you’d think it would be: upbeat and fun. It’s also absolutely unique. Eclectic violinist Zach Brock, jazz bassist Matt Wigton and drummer Fred Kennedy have joined forces to create a new genre: violin funk. Crisp and rhythmic, it’s a lot closer to jazz than James Brown, although it shares the Godfather of Soul’s split-second precision and fondness for simple, memorable hooks. Much of the time, Brock adds to the thicket of beats with spiky pizzicato plucking. Wigton plays as much judicious melody as Brock, and Kennedy’s smart, frequently minimalistic yet attention-grabbing colors and riffs are absolute magic: each instrument is completely equal in this unit.

The title cut kicks it off on a jaunty note: Brock gives it a staccato bounce on the first verse, plays steady eighth notes over a tricky rhythm, then it shifts to more of a dance. The rhythmic trickiness keeps going with Summer Dance, which morphs into what’s essentially a funk waltz, down to a brief cymbal splashfest and then goes halftime. Their version of You Don’t Know What Love Is, by contrast is moody and distantly bluesy, in fact almost trip-hop, finally picking up with vocalese as it winds out.

A bucolic, syncopated theme, Sno’ Peas gets going with brisk bass and matter-of-factly rattling drums, a chugging funk style bass solo and builds to the jazziest interlude here so far, up to a soaring, Jean-Luc Ponty-esque cadenza. The slow, pensive Brooklyn Ballad defines this album: incisive bass and terse, nimble drums trade textures beneath a judiciously sailing violin crescendo, then down and out gracefully. The hook-driven Golden Nuggets gives Wigton a chance to cut loose on the funk until Brock steps on it, gets everybody to chill out and then takes it out with a sly early 70s psychedelic soul feel. The anthemic Man of the Light pairs off Wigton’s prowling bass against Brock’s airy blues allusions, Kennedy bringing the intensity up with his cymbals. The album closes with In the Dark, Kennedy’s greatest shining moment among many where he finally gets to go up all the way and crash around after an eerie interlude with glockenspiel that builds intensity until it finally explodes. It’s a great headphone album. Brock is highly in demand as a live player: his next gig is on May 12 at 6 PM at Temple Israel, 112 E 75th St..

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May 7, 2011 - Posted by | funk music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , ,

1 Comment »

  1. Thanks to the folks at Lucid Culture for the review! If you are interested in hearing, and possibly acquiring this music, please go here: http://www.zachbrock.com/site/mystore#

    Comment by Chris Duncan | May 10, 2011 | Reply


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