cD/LP RECENSIES door roelof broekman - reviews by Roelof Broekman
Sleep - The Sciences
What a triumph: this great and heroic return of Sleep succeeds and delivers on all levels. From the beautiful cover, the package, the twisted and playful lyrics full of Sabathology to the intense and overwhelming music with all it's rage, twists and turns, stunning heaviness combined with instrumental storytelling to the max. The sometimes dramatic change in moods is so clever and feels improvised but always well aware of circumstances. Fierce and nicely dry production that keeps all instruments balanced without sacrificing the brutality the individual members postpone on this epic record that is easily the best in it's genre so far. I love every single minute of it...
What a triumph: this great and heroic return of Sleep succeeds and delivers on all levels. From the beautiful cover, the package, the twisted and playful lyrics full of Sabathology to the intense and overwhelming music with all it's rage, twists and turns, stunning heaviness combined with instrumental storytelling to the max. The sometimes dramatic change in moods is so clever and feels improvised but always well aware of circumstances. Fierce and nicely dry production that keeps all instruments balanced without sacrificing the brutality the individual members postpone on this epic record that is easily the best in it's genre so far. I love every single minute of it...
Om - Advaitic Songs
This devout atmosphere seems to be brought to you through a well understood concentration by musicians who know, or should I say: feel, what they are doing. A wonderful concept that works, as well directly, as over a period of time. And time being an essential part of the marvelous 'experience' here, as I am seldom confronted with a piece of art that takes you really out of the clock. And better so, because that is what we should listen for in music, or read great novels: to be drawn into a unique world, a challenge for the heart and mind, without burning your nerves, and quite the contrary on Advaitic Songs: you are welcomed in smooth spaces and delightful rooms of excellent produced music wherein instruments float that are all clearly recognizable and contain their own environment without losing cohesion. Advaitic Songs delivers a sound-world full of movement and connectivity. Most of all I am enchanted by the rolling drums, here and there, everywhere. The tandem of the bass and the toms rumble still long after the record is finished. God, I love this. Did I already mention the beauty of the cover?
This devout atmosphere seems to be brought to you through a well understood concentration by musicians who know, or should I say: feel, what they are doing. A wonderful concept that works, as well directly, as over a period of time. And time being an essential part of the marvelous 'experience' here, as I am seldom confronted with a piece of art that takes you really out of the clock. And better so, because that is what we should listen for in music, or read great novels: to be drawn into a unique world, a challenge for the heart and mind, without burning your nerves, and quite the contrary on Advaitic Songs: you are welcomed in smooth spaces and delightful rooms of excellent produced music wherein instruments float that are all clearly recognizable and contain their own environment without losing cohesion. Advaitic Songs delivers a sound-world full of movement and connectivity. Most of all I am enchanted by the rolling drums, here and there, everywhere. The tandem of the bass and the toms rumble still long after the record is finished. God, I love this. Did I already mention the beauty of the cover?
Thom Yorke - Tomorrow's modern boxes
Listening with attention, you will notice that this record differs from Eraser, allthough most basic elements involved in Eraser are here as well. But with a darker feel, a more introspective touch (yes, even more seems possible within the soundworld of Yorke). And this one needs a longer span of concentration by the listener... It all adds to, again, a deep listening experience on different levels: the sound (production wise), his voice (obvious great, though sparse here and there), the lyrics, and the subtle changes in a continuous changing landscape. The way Yorke intertwines melody, rythmic adventures and compositional intelligence is unique. I love it. The genius part are the LP scratches he incorporates in the composition on side B, the last track, even till the bitter end...
Listening with attention, you will notice that this record differs from Eraser, allthough most basic elements involved in Eraser are here as well. But with a darker feel, a more introspective touch (yes, even more seems possible within the soundworld of Yorke). And this one needs a longer span of concentration by the listener... It all adds to, again, a deep listening experience on different levels: the sound (production wise), his voice (obvious great, though sparse here and there), the lyrics, and the subtle changes in a continuous changing landscape. The way Yorke intertwines melody, rythmic adventures and compositional intelligence is unique. I love it. The genius part are the LP scratches he incorporates in the composition on side B, the last track, even till the bitter end...
Sunn O))) - Monoliths & Dimensions
More and more it seems possible to overgrow the sometimes deep valley between the classical role of the distorted guitar (as a concept of screaming attention) and the intelligence and fine subtleties involved in Art in general based on a deeper understanding of underlying interesting ideas. Sunn 0))) (Stephen O'Malley & Greg Anderson) has taken a deep breath and reinvented the lowdrone guitar once so wonderfully introduced by Tony Iommi. I still love that sound. But who could have thought that thunderous amps could be so meditative in relation with soundwaves that actually cut through your flesh and bone... And then the guest musicians so tasteful weaved into the music: what to think of Cuong Vu (trumpetplayer who played with Pat Metheny), choirs, spoken words and synths. The new avant-garde. Brilliant. Vital.
More and more it seems possible to overgrow the sometimes deep valley between the classical role of the distorted guitar (as a concept of screaming attention) and the intelligence and fine subtleties involved in Art in general based on a deeper understanding of underlying interesting ideas. Sunn 0))) (Stephen O'Malley & Greg Anderson) has taken a deep breath and reinvented the lowdrone guitar once so wonderfully introduced by Tony Iommi. I still love that sound. But who could have thought that thunderous amps could be so meditative in relation with soundwaves that actually cut through your flesh and bone... And then the guest musicians so tasteful weaved into the music: what to think of Cuong Vu (trumpetplayer who played with Pat Metheny), choirs, spoken words and synths. The new avant-garde. Brilliant. Vital.
Hemelbestormer - Aether
Apart from the beautiful cover which perfectly depicts the delivered content, this is a very well produced record due to a balanced philosophy that forms the basis of every good art. Put on your headphones and let you guide by the long tracks, the overall atmosphere, the instrumental stories and great playing. A classic!
Apart from the beautiful cover which perfectly depicts the delivered content, this is a very well produced record due to a balanced philosophy that forms the basis of every good art. Put on your headphones and let you guide by the long tracks, the overall atmosphere, the instrumental stories and great playing. A classic!
Thurston Moore - The best day
The thing I love so much in Thurston Moore's output is his ability to be who he is, a long time already, even more than 30 years on, in a time we are able to land a spider-like object on a comet, a few miles away. And although this could be a warning: it is meant to be quiet the opposite. When an art is true to itself, why bother to artificially change? Music is no science. So, this record is in line with earlier musical outings, and still, despite the fact you know what's coming, it sounds so honest and like-able, I just love to listen to it, over and over again. Some moments make me dream a bit, drifting off into thoughts, mostly comfortable, and other moments I'm subtle alarmed with the always fresh sound of a dissonance, a (on this record particularly) controlled and musical feedback, or some nice lines softly sung, as if Thurston whispers his words in your ear, and so intimately comforts you.
I especially recommend this for headphones, to catch subtleties otherwise unnoticed, and the for-mentioned intimacy of course. And yes, that's his mother in the lake, a long time ago...
The thing I love so much in Thurston Moore's output is his ability to be who he is, a long time already, even more than 30 years on, in a time we are able to land a spider-like object on a comet, a few miles away. And although this could be a warning: it is meant to be quiet the opposite. When an art is true to itself, why bother to artificially change? Music is no science. So, this record is in line with earlier musical outings, and still, despite the fact you know what's coming, it sounds so honest and like-able, I just love to listen to it, over and over again. Some moments make me dream a bit, drifting off into thoughts, mostly comfortable, and other moments I'm subtle alarmed with the always fresh sound of a dissonance, a (on this record particularly) controlled and musical feedback, or some nice lines softly sung, as if Thurston whispers his words in your ear, and so intimately comforts you.
I especially recommend this for headphones, to catch subtleties otherwise unnoticed, and the for-mentioned intimacy of course. And yes, that's his mother in the lake, a long time ago...
Boulez-Complete Works - All music composed by Pierre Boulez
It's there. A bold attempt to put out a complete works of the wonderful composer Pierre Boulez. His pieces appeared throughout the years on different labels in all sorts of recordings spread out over decades. I almost lost the perspective: well, finally, yes, order! That's exactly what is done so very well within this offering. It starts with the box itself, tasteful and provided with a very well made booklet with lot's of relevant information about the background of all the compositions and their transformations. It gives a lot of insight mainly because the whole set is put in a chronological order, with the exception of two nice and well chosen bonus discs of course.
And what about the actual recordings? Ha! Listen to le Marteau sans maitre, the excellent recording from Deutsche Grammophone, with lot's of detail and depth in all the instruments, as if they are playing in your room. Or his true masterpiece: Pli selon pli...especially the colorful percussion everywhere, the marimba's, voices etc. etc. And there is more: Pollini on piano... and the pieces with interference of manipulated sounds through computer-systems, Explosant-fixe, or Repons. Well, what can I say, listening through all these works in the last few weeks one thing comes to mind: it's unbelievable diverse in all possible ways modern music is thinkable of. Again and again I'm struck by the inventiveness of this love-able composer which I'm so happy to have seen a couple of years ago conducting his own music, here in Amsterdam. I hope he will stay with us a little bit longer...
And no, I'm not an academic, I really like to listen to this music which has grown to me over the years, like Boulez advises for new listeners: start slowly with simple pieces, relax, let the music speak to you, and it will come...
It's there. A bold attempt to put out a complete works of the wonderful composer Pierre Boulez. His pieces appeared throughout the years on different labels in all sorts of recordings spread out over decades. I almost lost the perspective: well, finally, yes, order! That's exactly what is done so very well within this offering. It starts with the box itself, tasteful and provided with a very well made booklet with lot's of relevant information about the background of all the compositions and their transformations. It gives a lot of insight mainly because the whole set is put in a chronological order, with the exception of two nice and well chosen bonus discs of course.
And what about the actual recordings? Ha! Listen to le Marteau sans maitre, the excellent recording from Deutsche Grammophone, with lot's of detail and depth in all the instruments, as if they are playing in your room. Or his true masterpiece: Pli selon pli...especially the colorful percussion everywhere, the marimba's, voices etc. etc. And there is more: Pollini on piano... and the pieces with interference of manipulated sounds through computer-systems, Explosant-fixe, or Repons. Well, what can I say, listening through all these works in the last few weeks one thing comes to mind: it's unbelievable diverse in all possible ways modern music is thinkable of. Again and again I'm struck by the inventiveness of this love-able composer which I'm so happy to have seen a couple of years ago conducting his own music, here in Amsterdam. I hope he will stay with us a little bit longer...
And no, I'm not an academic, I really like to listen to this music which has grown to me over the years, like Boulez advises for new listeners: start slowly with simple pieces, relax, let the music speak to you, and it will come...
Frank Zappa - Chicago '78
This could easily become my favorite Vaulternative concert brought to us by the Zappa Family, particularly Joe Travers. I love it! The production is very good, very balanced. Especially the kickdrum in relation to the bassguitar, beautifully connected. This double CD is re-mixed in 2014 by Graig Parker Adams and he has done a great job! Still very live, not over-produced, all instruments are in their own space, easily distinguishable, and the drums of Vinnie Colaiuta are wonderfully spread in the stereo field and every aspect of his drumming is audible: great to hear all details of his fantastic playing at this young age. Also the rest of the band, the background guitars, the keyboards, all elements are mixed well, and on top of that some awesome guitar solo's by Zappa himself, with every solo delivering something else, something unique, different in playing style as well in sound and effects. It's obvious everyone was in a good mood this night, the playing relaxed and mature, largely musical. The opening of the concert is bold with an 8 minute guitar solo, Easy Meat is still in it's infancy, far away from the version on Tinsel Town, this one is ultra slow, but so great, as so Bamboozled By Love, slow but very good! Sy Borg has a nice sounding solo by I think Tommy Mars. The House I Used To Live In is expensive with the keyboards in a prominent role. Paroxysmal Splendor is a highlight of the record: some solo's, some strange sounds, and some loud steady rock with Vinnie Colaiuta going nuts on his drumset! Yo Mamma a touching song with a marvelous solo by Zappa (Possibly playing the Hendrix Strat on some solo's on this album..) and Don't Eat The Yellow Snow is a super rich performance, a musical tour the force with some funny remarks by Zappa during the audience participation... Strictly Genteel: nice version, dynamic, and last but not least a very, very good guitar solo in Black Napkins. What more do you want.
A must have for Zappa fans, and fans of Vinnie Colaiuta.
This could easily become my favorite Vaulternative concert brought to us by the Zappa Family, particularly Joe Travers. I love it! The production is very good, very balanced. Especially the kickdrum in relation to the bassguitar, beautifully connected. This double CD is re-mixed in 2014 by Graig Parker Adams and he has done a great job! Still very live, not over-produced, all instruments are in their own space, easily distinguishable, and the drums of Vinnie Colaiuta are wonderfully spread in the stereo field and every aspect of his drumming is audible: great to hear all details of his fantastic playing at this young age. Also the rest of the band, the background guitars, the keyboards, all elements are mixed well, and on top of that some awesome guitar solo's by Zappa himself, with every solo delivering something else, something unique, different in playing style as well in sound and effects. It's obvious everyone was in a good mood this night, the playing relaxed and mature, largely musical. The opening of the concert is bold with an 8 minute guitar solo, Easy Meat is still in it's infancy, far away from the version on Tinsel Town, this one is ultra slow, but so great, as so Bamboozled By Love, slow but very good! Sy Borg has a nice sounding solo by I think Tommy Mars. The House I Used To Live In is expensive with the keyboards in a prominent role. Paroxysmal Splendor is a highlight of the record: some solo's, some strange sounds, and some loud steady rock with Vinnie Colaiuta going nuts on his drumset! Yo Mamma a touching song with a marvelous solo by Zappa (Possibly playing the Hendrix Strat on some solo's on this album..) and Don't Eat The Yellow Snow is a super rich performance, a musical tour the force with some funny remarks by Zappa during the audience participation... Strictly Genteel: nice version, dynamic, and last but not least a very, very good guitar solo in Black Napkins. What more do you want.
A must have for Zappa fans, and fans of Vinnie Colaiuta.
John Frusciante - Outsides
Honesty. That's what Frusciante is striving for. And adventure, for sure. For listening to his latest outing just open your ears and let the music do the work. Give yourself to it and you will be tremendously satisfied with his creative development.
Track 2, Breathiac, is a particularly rare kind of breed, especially in the pop-world. And saying so: the definition of 'pop' seems out of place here. Even so to give it any kind of theoretical ground or categorization. Frusciante becomes more and more prolific in achieving his very personal expression-world. Anyway: it's nice to hear jumping octaves between the root and minor seconds, in the likes of Webern and Boulez, especially on guitar, and in this colorful environment.
What also strikes me on his latest records is the wonderful and musical way he uses timbres, sounds, and patterns in the synth domain, like conducting an orchestra without becoming boring bombastic. It's tasteful everywhere. And yes, I really like the way he cut's up rhythms. It makes it all so alive and dynamic. You won't get bored a single moment: continuously there's something going on somewhere.
I hope John keeps working in this direction: the honest listener needs it...
Honesty. That's what Frusciante is striving for. And adventure, for sure. For listening to his latest outing just open your ears and let the music do the work. Give yourself to it and you will be tremendously satisfied with his creative development.
Track 2, Breathiac, is a particularly rare kind of breed, especially in the pop-world. And saying so: the definition of 'pop' seems out of place here. Even so to give it any kind of theoretical ground or categorization. Frusciante becomes more and more prolific in achieving his very personal expression-world. Anyway: it's nice to hear jumping octaves between the root and minor seconds, in the likes of Webern and Boulez, especially on guitar, and in this colorful environment.
What also strikes me on his latest records is the wonderful and musical way he uses timbres, sounds, and patterns in the synth domain, like conducting an orchestra without becoming boring bombastic. It's tasteful everywhere. And yes, I really like the way he cut's up rhythms. It makes it all so alive and dynamic. You won't get bored a single moment: continuously there's something going on somewhere.
I hope John keeps working in this direction: the honest listener needs it...
Black Sabbath - 13 (Limited Deluxe Edition)
The psychological insight of mr. Rubin must be phenomenal. One can say that this wonderfully well produced piece of classic rock-music is an achievement of all people involved. It is for sure the bold and dauntless attitude of this soft spoken producer that he 'understands', and I repeat: really understands, what the strong part of Black Sabbath was, and thank God, still is! To be able to feel the same excitement I felt in the seventies is amazing. And yes, although I know part of it is sheer nostalgia, another part comes from well educated ears that don't get fooled easily. In these days of pre-formatted time-frames I am SO happy to see two opening tracks with 8 minute length... It's so interesting to dig into a record again, and listening to it over and over, while it starts growing to you, and you slowly reveal the secrets that it contains.
All that said: one of the nice things about a good rock record is it's sound-impact. If you hear rock, you want to feel it, you want to be hammered down by the molecular intensity of low-tuned riffs that roar in your belly. That's materialized excitement! And that's exactly what this great record does.
Last thing: buy the special 2 disc version. Those 3 extra tracks just flow naturally in the mood of 13.
The psychological insight of mr. Rubin must be phenomenal. One can say that this wonderfully well produced piece of classic rock-music is an achievement of all people involved. It is for sure the bold and dauntless attitude of this soft spoken producer that he 'understands', and I repeat: really understands, what the strong part of Black Sabbath was, and thank God, still is! To be able to feel the same excitement I felt in the seventies is amazing. And yes, although I know part of it is sheer nostalgia, another part comes from well educated ears that don't get fooled easily. In these days of pre-formatted time-frames I am SO happy to see two opening tracks with 8 minute length... It's so interesting to dig into a record again, and listening to it over and over, while it starts growing to you, and you slowly reveal the secrets that it contains.
All that said: one of the nice things about a good rock record is it's sound-impact. If you hear rock, you want to feel it, you want to be hammered down by the molecular intensity of low-tuned riffs that roar in your belly. That's materialized excitement! And that's exactly what this great record does.
Last thing: buy the special 2 disc version. Those 3 extra tracks just flow naturally in the mood of 13.
Chelsea Light Moving
If this is what follows after personal turmoil, maybe artistic differences, or whatever that I don't know of: it certainly provides us listeners with a wonderful energetic record that blows my mind away! I have to thank Thurston Moore and his new band to keep the faith in music that has it's roots in the late seventies but now mixed with a contemporary sound that cuts deep in my soul. I love every minute of this record, from the rawest energetic attacks to the mellower moves. There is no way you won't be entertained on this one. To keep listeners interested these days, after decades of recorded music, is the true gift of a real artistic artist. Thurston Moore delivers. Big time. And you know what? I don't like to write anymore: I'm listening to the record right now...and I just can't sit still, it f...s me up like hell: listen to Burroughs...wow!
If this is what follows after personal turmoil, maybe artistic differences, or whatever that I don't know of: it certainly provides us listeners with a wonderful energetic record that blows my mind away! I have to thank Thurston Moore and his new band to keep the faith in music that has it's roots in the late seventies but now mixed with a contemporary sound that cuts deep in my soul. I love every minute of this record, from the rawest energetic attacks to the mellower moves. There is no way you won't be entertained on this one. To keep listeners interested these days, after decades of recorded music, is the true gift of a real artistic artist. Thurston Moore delivers. Big time. And you know what? I don't like to write anymore: I'm listening to the record right now...and I just can't sit still, it f...s me up like hell: listen to Burroughs...wow!
Complete Webern - music composed by Anton Webern
All has been said in the reviews posted here on amazon, but I think it's a good thing to remember everyone in 2013 that this box exists, and that it, after more then a decade, still stands as a true piece of love for music. Love which Webern lacked during his lifetime in not being played very often, sometimes not at all. Webern once asked a friend, who had heard a piece performed on the BBC radio: 'How did it sound?' Well, let's hope Webern has still the opportunity to listen together with us, to hear all the wonderful details he put in there and which Boulez took out of the players together with the engineers in the studio.
Listening to Webern is an exercise in concentration, in awareness of the smallest moments of whispering beauty, only to be rebelled against with spare moments of growing intensity, but always embedded with a sensitive ability to keep it all as tranquil as possible, like hollow glass, breakable and sustainable at the same time...and no, not cold, on the contrary, this is the birth of modern music in it's most warm manifestation.
All has been said in the reviews posted here on amazon, but I think it's a good thing to remember everyone in 2013 that this box exists, and that it, after more then a decade, still stands as a true piece of love for music. Love which Webern lacked during his lifetime in not being played very often, sometimes not at all. Webern once asked a friend, who had heard a piece performed on the BBC radio: 'How did it sound?' Well, let's hope Webern has still the opportunity to listen together with us, to hear all the wonderful details he put in there and which Boulez took out of the players together with the engineers in the studio.
Listening to Webern is an exercise in concentration, in awareness of the smallest moments of whispering beauty, only to be rebelled against with spare moments of growing intensity, but always embedded with a sensitive ability to keep it all as tranquil as possible, like hollow glass, breakable and sustainable at the same time...and no, not cold, on the contrary, this is the birth of modern music in it's most warm manifestation.
Valgeir Sigurðsson
It certainly takes concentration to listen to this kind of music that flourishes on sensitivity for the detail, slow evolving movements, atmospheres of sound. A fresh experience in the overload of standard pop. Avant-garde without the intellectual distance often felt by listeners, although personally I don't have a problem with too much intellectualism, but still, this record works on many levels.
It certainly takes concentration to listen to this kind of music that flourishes on sensitivity for the detail, slow evolving movements, atmospheres of sound. A fresh experience in the overload of standard pop. Avant-garde without the intellectual distance often felt by listeners, although personally I don't have a problem with too much intellectualism, but still, this record works on many levels.
John Frusciante - Letur-Lefr Ep
This is why we need people like John Frusciante: for the sheer freedom of his mind that's able to connect 40 years of pophistory and electronics with this day and age. I was getting bored with pop. I took my turn to Contemporary Classical to get excited the way I got when I first listened to the catalogue of Zappa or later on Sonic Youth. I thought the time for big excitement was over (well, maybe 'Boris' from Japan), my ears just too much 'spoiled' with my 10.000 tracks on my ipod. And then: Letur-Lefr...thank god! I was personally in a minor mood because of a 'publisher thing' I was involved in as a writer, and then I listened to this record. It made me so happy!
I always knew that Frusciante could do it, but the question for me was: when? As I read the explanation on his website about how he got here, I began to understand that this record didn't just came out of the fingers, but very much out of his mind. But I don't think the heartless cerebral mind, no, I mean the creative and sensitive mind! It's all over the place. And the strange thing is: the record is like velvet sounding on the one side, and food for thought on the other. It has gloom and depth. It intimidates and invites at the same time. It's wonderful to finally being able again to concentrate and enjoy music at the same time and on all levels. This is the challenging (art) music that helps me breathe, and inspires my own struggle. Thanks John for the good and hard work.
This is why we need people like John Frusciante: for the sheer freedom of his mind that's able to connect 40 years of pophistory and electronics with this day and age. I was getting bored with pop. I took my turn to Contemporary Classical to get excited the way I got when I first listened to the catalogue of Zappa or later on Sonic Youth. I thought the time for big excitement was over (well, maybe 'Boris' from Japan), my ears just too much 'spoiled' with my 10.000 tracks on my ipod. And then: Letur-Lefr...thank god! I was personally in a minor mood because of a 'publisher thing' I was involved in as a writer, and then I listened to this record. It made me so happy!
I always knew that Frusciante could do it, but the question for me was: when? As I read the explanation on his website about how he got here, I began to understand that this record didn't just came out of the fingers, but very much out of his mind. But I don't think the heartless cerebral mind, no, I mean the creative and sensitive mind! It's all over the place. And the strange thing is: the record is like velvet sounding on the one side, and food for thought on the other. It has gloom and depth. It intimidates and invites at the same time. It's wonderful to finally being able again to concentrate and enjoy music at the same time and on all levels. This is the challenging (art) music that helps me breathe, and inspires my own struggle. Thanks John for the good and hard work.
Renaissance - Marcus Miller
Sometimes you feel instantly when something's just right. Spot on. This album by Marcus Miller contains that quality. For me personally the last time I felt like that was with M2 (the one with 'power' on it). And the live album 'a night in Monte-Carlo' was also a pleasurable one.
From the first track on I was really drawn into the terrific atmosphere of the album, the playing as well as the writing and the production. I happen to like this drummer a lot more than the previous. The drummer on this album has a perfect laid-back freedom in it's playing that makes the whole album much more organic and full of inspiration. The brass has a little bit more room, so it breathes a little more, and thus swings better. The playing of Miller again seems more willing to search for new strategies. In a challenging way.
The color blue seems appropriate for the package of this album: it signifies what you hear, a certain feeling of class mixed with a bold attitude that belongs to the best jazz(fusion) players.
One other thing I also particularly like on this album is it's more eccentric, jazzy, contemporary modern melody lines, like track 2. It keeps fresh and interesting in contrast with the more 'pop' side of Marcus Miller. The balance on this album is perfect. And what to think of 'Nocturnal Mist': I didn't know that a bass guitar could be so sensitive and expressive. Beautiful, Marcus. Thank you.
Sometimes you feel instantly when something's just right. Spot on. This album by Marcus Miller contains that quality. For me personally the last time I felt like that was with M2 (the one with 'power' on it). And the live album 'a night in Monte-Carlo' was also a pleasurable one.
From the first track on I was really drawn into the terrific atmosphere of the album, the playing as well as the writing and the production. I happen to like this drummer a lot more than the previous. The drummer on this album has a perfect laid-back freedom in it's playing that makes the whole album much more organic and full of inspiration. The brass has a little bit more room, so it breathes a little more, and thus swings better. The playing of Miller again seems more willing to search for new strategies. In a challenging way.
The color blue seems appropriate for the package of this album: it signifies what you hear, a certain feeling of class mixed with a bold attitude that belongs to the best jazz(fusion) players.
One other thing I also particularly like on this album is it's more eccentric, jazzy, contemporary modern melody lines, like track 2. It keeps fresh and interesting in contrast with the more 'pop' side of Marcus Miller. The balance on this album is perfect. And what to think of 'Nocturnal Mist': I didn't know that a bass guitar could be so sensitive and expressive. Beautiful, Marcus. Thank you.
