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Archive for the ‘Jazz’ Category

Rare Blend – Sessions (2009)

Posted in Fusion, Jazz, Progressive Rock, Review on October 17, 2010|

TRACK LIST:
STAGE:
1. Hipster Spinster  (6:06)
2. March To Orion  (5:11)
3. Mystic Jam  (7:28)
4. Market Square  (8:13)

STUDIO:
5. Hide & Seek  (3:58)
6. Jazzmin  (5:07)
7. Say What?  (3:38)
8. The Timekeeper  (2:53)
9. 28 Degrees  (4:34)
10. Neon Noodle  (4:17)

FILM:
11. Z’Hadum  (10:26)
12. Phantom Lair  (4:41)
13. Break A Leg  (4:03)
14. Christine’s Theme  (2:40)

LINEUP:
Vic Samalot – electric and acoustic guitar
Bobbi Holt – keyboards, 2nd guitar (10), percussion (5)
Jeffrey Scott – bass guitar
Ivan George – drums
Vince Broncaccio – drums (8, 10)
Phil Quidort – trumpet (4)

Sessions is the fifth album released by Cleveland-based outfit Rare Blend, founded by guitarist Vic Samalot and keyboardist Bobbi Holt in 1993. Celebrating their 17th year of activity in 2010, Rare Blend are indeed aptly named – a band that successfully blends jazz-fusion, traditional progressive rock and jam-band attitudes, coupled with a healthy dose of sterling musicianship and a genuine sense of enjoyment. A remarkably tight band, capable of tackling complex compositions and recording them in one take, they emphasize live performance rather than polished studio recording – as their long experience and affiliation with local festivals, supported by their obvious dedication to their music, allow them to take advantage of every opportunity to perform before an audience.

Sessions clearly proves that the band have come a long way since their debut as a duo, Cinefusion, released in 1995. Honed by years of regular gigging,  they have gradually moved from the generic ‘prog’ approach of that first release towards a fluid form of jazz-rock rooted in the golden years of the genre, though infused with a personal touch. Rare Blend are in the habit of recording everything they play, be it in the studio or on stage, which spells a remarkable confidence in their craft. Though never rehearsed, their music shows a kind of discipline does not so much stem from endless hours spent perfecting each and every one of their compositions, as from an easy familiarity with the demands of performance.

The first part of the album contains four tracks recorded live in various venues (including the legendary Orion Studios in Baltimore, recently featured in the documentary film Romantic Warriors). Opener “Hipster Spinster” blends fluid, vintage jazz-rock stylings with atmospheric keyboards à la Pink Floyd – an influence that also surfaces in the Middle Eastern-tinged “Mystic Jam”; while “March to Orion” is driven by Jeff Scott’s solid bass line (a constant of the album, like glue holding the fabric of the compositions together), underpinning Samalot’s ever-reliable guitar forays. “Market Square” (named after the place in Cleveland where the track was originally recorded) sees the impromptu participation of Phil Quidort on trumpet, adding a wistful note to a dynamic yet oddly mesmerizing number, and sparring with Samalot’s guitar over Scott’s pumping bass line.

The six studio tracks (recorded in one take during rehearsals) display more of the band’s trademark free-form, yet appealingly melodic approach, with a loose texture ensuring that every instrument gets the chance to shine. All the tracks are rather short (with the aptly-titled “Jazzmin” the longest at 5 minutes), the funky, uptempo “The Timekeeper” and “Say What?” nicely balanced by the atmospheric mood of “Neon Noodle”, enhanced by some beautiful interplay between electric and acoustic guitar.

The Film section features four compositions conceived as soundtracks to two famous silent movies of the 1920s. The album’s longest track, the strongly cinematic “Z’Hadum” (inspired by Fritz Lang’s iconic Metropolis),  is a suitably Gothic offering,with a peculiar structure broken down by frequent pauses that create a sense of palpable tension, its hypnotic pace providing an ideal backdrop for synth and guitar excursions. The three remaining numbers (inspired by the 1925 version of The Phantom of the Opera), all markedly shorter and veering towards classic  progressive rock territories, share a similarly ominous mood.

If I had to level some criticism at Sessions, it would be on account of its running time of almost 72 minutes. Though somehow justified by the album’s distinctive format, I still feel that some judicious editing would not have gone amiss. However, the album aims at offering as complete as possible a picture of Rare Blend’s varied output, and its three-part structure makes it easier to break it down into sections for listening purposes. In any case, Sessions is packed with energetic, brilliantly executed compositions that will definitely appeal to fans of jazz-rock/fusion, especially those who enjoy spontaneous, unscripted performances. It is also an excellent introduction to Rare Blend for those who are not yet familiar with the band.

Link:
http://www.rareblend.net

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East of Eden – Mercator Projected (1969)

Posted in Blues, Jazz, Progressive Rock, Psychedelic, Review, World Music, tagged , , , , , , on August 14, 2010|

Tracklist:
1. Northern Hemisphere (5:03)
2. Isadora (4:19)
3. Waterways (7:00)
4. Centaur Woman (7:09)
5. Bathers (4:57)
6. Communion (4:02)
7. Moth (4:03)
8. In The Stable Of The Sphinx (8:20)

Bonus tracks  (Eclectic re-issue, 2004):
1. Waterways (demo) (6:40)
2. In the Stable of the Sphinx (demo recorded in July 1968) (11:10)
3. Eight Miles High (recorded at Tangerine Studios, London, 3rd September 1969) (6:51)

Lineup:
Dave Arbus – electric violin, flute, bagpipe, recorders, two saxophones
Ron Caines – soprano & alto saxophones (acoustic & amplified), organ, vocals (4)
Dave Dufont – percussion
Geoff Nicholson –  guitars, vocals
Steve York – bass guitar, harmonica, Indian thumb piano

Though I have neglected my blog for some time, I have definitely not forgotten about it (and hopefully neither have you, my dear readers!). Unfortunately, my other reviewing commitments sometimes have to take precedence – unless I want to find myself even more backlogged than I already am.

Anyway, for the first update for almost three weeks, here is another 1969 album, and one of the lost gems of the earliest years of progressive rock. As a matter of fact, having been released a few months before In the Court of the Crimson King, Mercator Projected might very well be considered as the first prog album – though, sadly, nowhere as well-known as King Crimson’s iconic debut.

Mercator Projected marks the debut of East of Eden, one of the most exciting, authentically progressive acts of  those golden years, now unfairly overlooked by most.  Drenched in exoticism, from its stunning, surprisingly modern cover (depicting a heavily tattooed woman’s back) to its evocative title (a Mercator projection is a cylindrical map projection that distorts the shape and size of large objects),  the album is a thoroughly exhilarating listen, blending Eastern sounds with jazz, blues, heavy rock and psychedelia in a heady brew that might at first sound dated, but still holds a deep fascination for the  discerning music fan.

One of East of Eden’s strengths lies in their use of an impressive array of instruments that, at the time, were not yet common currency in rock music. Dave Arbus’ electric violin (which, incidentally, also graces The Who’s “Baba O’ Riley”) dominates the proceedings, weaving ethereal melodies or bringing a strident note to the compositions, while saxes and flute add their distinctive character to the band’s sound. In the best tradition of the original progressive rock movement, and not unlike the mighty Crims’  seminal debut, the songs on this album are at the same time accessible and experimental, harsh and gently soothing. While the band do not reject their rock and blues roots, they also push the envelope with their richly textured soundscapes, which evoke many different moods.

Closing track “In the Stable of the Sphinx”, a jazzy, sprawling instrumental (also present in a longer version in the 2004 remastered edition), is possibly the album’s masterpiece: mainly guitar-driven, unlike most of the other tracks, it features some brilliant sax and violin work. Flutes take centre stage in the dreamy, hippyish “Isadora”; while “Waterways” and “Bathers” conjure images of Eastern-style languor and sensuality, with lashings of sumptuous violin and keyboard melodies. On the other hand, the bluesy, harmonica-driven “Centaur Woman” sounds somewhat grating, and is in my view the weakest offering on the album, even though the slightly distorted, dramatic vocals add some spice to the song.

As even a cursory listen will make it clear, Mercator Projected is not the accomplished work of a seasoned band. However,  even in  its undeniable rawness,  it shows the promise than East of Eden would fulfill in their sophomore effort, Snafu. It is a great pity that they did not achieve the fame they would have deserved for their highly individual, creative approach to music-making – they could have become as big as Yes or King Crimson, but now they are forgotten by almost everyone but the real aficionados of the ‘golden era’  of the genre.

On any account, Mercator Projected is highly recommended to anyone who likes their prog to be eclectic and challenging, even if a bit rough around the edges. This is an album that every self-respecting prog fan should  try at least once.

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