Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 1/31/11

If you think we were idle over the weekend, guess again. It’s that time of the month: we’ve been frantically assembling a brand-new NYC live music calendar for February and March which we should have up by tomorrow. More reviews and other stuff coming in the next couple of days, too. In the meantime, as we do every day, our 1000 best albums of all time countdown continues all the way to #1. Monday’s album is #729:

Pat Metheny and Lyle Mays – As Falls Wichita, So Falls Wichita Falls

If you’re wondering what on earth Duke Ellington is doing at #759, with these guys thirty albums ahead, relax: all of these are in completely random order. You probably know this one even if you don’t think you do, especially if you watch nature programs on PBS. Babbling brook in early spring? Dollars to donuts that’s Pat Metheny’s cool, rippling guitar somewhere in the background. Which is the rap on him: Metheny is one of the genuinely nicest guys in jazz, and cynics are quick to dismiss him for being monochromatic. This is his most pensive album, from 1981, rather obvious from the black-and-white album cover shot of a tornado. The centerpiece is the often strikingly brooding, atmospheric, roughly twenty-minute title suite: it’s as much Mays’ triumph as it is Metheny’s. September Fifteenth is a thoughtful Bill Evans homage; the Americana jazz returns with a vengeance on It’s For You and Ozark, both of which have been used as tv mood music for decades. Estupenda Graca foreshadows the turn Metheny would take toward tropicalia and latin sounds later in the decade. Here’s a random torrent.

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January 31, 2011 Posted by | jazz, lists, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Fabrizio Sotti’s Computer Crashes; His Album Doesn’t

Fabrizio Sotti may be best known as a producer, someone who’s worked with hip-hop luminaries like Dead Prez, Ghostface Killah and reggae toaster Half Pint (and also some who are less than luminary). He’s also a thoughtful, stylistically diverse jazz guitarist. What he seems to be going for on his latest album Inner Dance is an update on the expansively playful vibe of those Wes Montgomery/Jimmy Smith albums from the 60s. This is a feel-good story in more ways than one: halfway through recording, Sotti’s hard drive died and he lost everything (yet another argument for the benefits of two-inch tape). And he also lost the services of bassist James Genus, who’d played on the original tracks but whose schedule had become too busy to accommodate further recording. So Sotti brought in B3 organist Sam Barsh, and suddenly they had a new vibe to work with. What they ended up with is actually a very 80s sounding album – but 80s in a good way. Sotti frequently utilizes a watery chorus-box tone, Barsh alternating between tasteful atmospherics and good-natured exuberance. Victor Jones handles the drum work with a crafty understatement, with Mino Cinelu taking over the throne on the title track.

They open with a gently purposeful swing blues, and then the acoustic guitar ballad Kindness in Your Eyes, Sotti negotiating his way through it nimbly, with some nifty tremolo-picking over atmospheric waves of organ. They segue into the title track: finally Sotti kicks into gear with a very Wes solo after an interminable one by guest harmonica player Gregoire Maret, then segue out and pick up the pace with I Thought So, a showcase for fluidly dancing, staccato fretwork and bubbly, classically-tinged arpeggiation by Barsh. Amanecer, a cowrite with brilliant Chilean soul/jazz chanteuse Claudia Acuña (who also sings on the track) has an aptly hushed beauty, Sotti’s flights up and down the scale midway through the song wisely and poignantly restrained. A Michael Brecker homage, Brief Talk actually more closely resembles the blue-sky ambience that Pat Metheny and Lyle Mays were mining circa As Falls Wichita. Then they pick up the pace with the best of the upbeat numbers here, Last Chance, offer a tribute to Monk with the swinging, artfully voiced Mr. T.M. and close with a brief, ruminative nylon-string solo vignette. When he’s not behind the board, Sotti is sought after as a sideman: one listen to this album and the reason for his popularity becomes clear.

August 8, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment