I've been reading the record reviews in the November issue of Downbeat. Here are a few examples of the reviewers' prose:
"...a brisk blow-fest built around dizzy accelerandos, ensemble meltdowns that function as heads at the end of solos and thunderous piano clusters that nonetheless convey the melodic essence of the theme;"
"...introduces the offbeat and has a distinct metronomic function that remains throughout his counterpoint release passages;"
"...engaged in a sly and stealthy prowl past trills that flare and sparkle unexpectedly in shadows, and creeping up to sudden pauses."
Huh? I just want to know if a record is something I'd like enough to steal or buy! Thunderous piano clusters sounds kinda scary, and I'm not so sure I'd like seeing sparkly stuff creeping up on me in the
shadows.
So I'm going to give you a few simple reviews of some jazz records that I've been playing at KSDS, Jazz 88.3.
- Jungle Soul, by Dr. Lonnie Smith. Smith is a doctor in the same way that Dr. John is a doctor. The word is just a part of his name. On this album, though, he's more like a chemist, concocting a heady brew of swamp music. Titles like "Witch Doctor," "Jungle Wisdom," "Zimbabwe," and the title track ought to give you an idea of the sound. Smith plays the coolest instrument over 450 pounds - the Hammond B-3 organ - and is accompanied by two guitarists and a drummer. Throw in a few jazz standards like Eddie Harris' "Freedom Jazz Dance" and Monk's "Bemsha Swing" and it's a very compelling package. Plus, this cat has a long white beard, wears a turban and a dashiki, and carries a mean looking walking stick. I'd buy it if I had any money!
- Findin' the Groove, by Terry Gibbs. Gibbs plays the vibes. Gibbs is 82 years old. Gibbs kicks ass on this session! With special guest Hubert Laws on flute, the title tune alone is worth the price of admission. It's the kind of pop-jazz that's so catchy and hummable that, in a better world, it should be on Top 40 radio everywhere. I'd buy it if I had any money!
- Live at Dakota, Volume 2, by Nachito Herrera. Pianist Herrera, accompanied by bass, drums, and a seemingly four-armed percussionist, shows why he was a child prodigy in his native Cuba. His chops are so spectacular, it's jaw-dropping. This concert was recorded in the Latin jazz hot spot of North America: Minneapolis/St. Paul, the Twin Cities! I don't know how Nachito wound up in the Great White North, but it sure hasn't taken the heat out of his playing. My favorites on the set include "Spain in the Twins" and the show-stopping finale, "West Side Latin Jazz," which is taken at whiplash speed, sounding like there are six or seven players instead of just the four. And Herrera doesn't hit a wrong note. It has to be heard to be believed! If this track in particular doesn't get you on your feet dancing, you are probably dead! I borrowed it from the station and made my own copy. Viva Nachito!
Enjoy. I'll talk at ya next month.
P.S. Don't miss the Modern Rhythm Band at Humphrey's Backstage Lounge, 6-8 p.m. on Saturday, November 18.