Critically acclaimed as the best of the Mahavishnu Orchestra LPs and rightly so. This music is classic jazz rock fusion – this is one of the hall of fame LPs of the genre.
The album opens with “Birds of Fire” which is mixes Jerry Goodman’s violin and John McLaughlin’s guitar in an amphetamine rush of epic proportions. Next comes “Miles Beyond” a clear a nod to Bitches Brew Miles Davis era fusion – mixing funk and heavy metal in a way that works. “Celestial Terrestrial Commuters” returns to the burn of the opening cut with more room for Jan Hammer’s keyboards. “Sapphire Bullets of Pure Love” is merely an interlude. “Thousand Island Park” dials it down with an acoustic presentation of what we have been hearing electrified. Side one is rounded out by “Hope” which is an interlude/anthem in full electric form. An epic first side.
Side two opens with a Billy Cobham drum solo and then surges into metal jazz. All though all instrumentalists are involved in “One World,” this is a display of strength of the drummer and bass player. The back and forth conversation between keyboards, guitar and violin is brilliant. Then Cobham is back for a wonderful drum solo that is not too long – just enough to make you wanting more. Next is “Sanctuary” a meditative prayer with a beautiful sustained filled electric guitar solo by McLaughlin. “Open Country Joy” is the least typical cut on the album, but it is delightful. It starts out light and fun, not at all heavy like everything that precedes it, but it quickly morphs into a full-scale heavy electric freak out, only to return to the light and airy starting point. Side two closes with “Resolution” which is the only really dated piece recalling early Sid Barrett-era Pink Floyd. But hey this is a 1973 LP – one dated cut is pretty exceptional and it gives the LP a kind of context.
I had an old LP that was so beat up I could never enjoy this album. I recently picked up a decent copy at the Minnesota Record Show. I never had it on CD so I have never had a chance to really enjoy this album. It is a wonderful discovery for me. I am embarrassed that as an alleged jazz fusion fan and McLaughlin fan I have never sunk my teeth into this masterpiece. This LP was actually a hit, getting to #15 on the pop charts – which is amazing for such complex instrumental music. But in 1973 the music buying public’s altered state probably was more open-minded. An absolute masterpiece of the jazz-rock fusion genre. Highly recommended.
PS – how cool is the cover – so early 70’s!
Fusion is risky music – there is a fine line between garbage and fine art. More often that not fusion is garbage. Robert Glasper pulls off his fusion as high art with a brilliant combo-platter of jazz, neo-soul and hip hop. I somehow have known about this album for months yet I did not even know who Robert Glasper was until I listened to this album today. I think I saw the album cover (which is an instant classic) a few months ago, saw it was on Blue Note (I have never heard a bad album on Blue Note), heard that it had some hip hop cred, and some cool guests. It was enough to keep it on my mental to-do list (not much makes it to that fragile list).
Well it is fantastic. Robert Glasper is a legitimate jazz piano player who just happens to have Kanye and Dilla credits on his resume. This album is more neo-soul and hip-hop than jazz and that is a good thing. It is narcotic mellow, yet it won’t put you to sleep.
This is a guest packed album (Erykah Badu, Lupe Fiasco, Mos Def to name a few), but it is an elegant collage and not just vocalist and MCs thrown up like stickers on a lamppost outside a nightclub. Songs segue from one cut to another like sips of fine wine between bites of a gourmet dinner.
Robert must have a great publicist as he has great profiles in the New York Times and NPR. Read them and Robert’s website and you will be likely be intrigued enough to give this album a spin. You won’t be disappointed.
Check out Robert’s back catalog with this amazing piece that juxtapositions Herbie Hancock and Radiohead:
What could be better than hanging out with some music heads who also happen to be audiophiles? I did that this afternoon at the February Edition of Analog Audio of Minnesota’s “New and Notable Music Event.
Every last Saturday of the month (with a hiatus for the summer months) from 2:00 PM to 4:00 PM, Paul at Analog Audio hosts a primarily vinyl listening event in his amazing studio/showroom (see this blog entry for more information about this amazing space). Paul presents 3 sides and a few surprise cuts from the latest and greatest audiophile pressings (180g, 45s, etc.).
This a fantastic opportunity to hear the best quality vinyl reissues through a great system. For me it was a great opportunity to be with my own kind. Sign up on Audio Analog’s event section to be alerted of each month’s line up and be prepared for surprises too.
Don’t forget to bring some cash too as Paul always has a nice collection of high quality used jazz records for sale. I walked away with a wonderful near mint mid-80s Woody Shaw release on Muse (Setting Standards).
The take away from today’s event (besides a wax woody) was how much the little things matter in a listening room. Paul had tweaked the room by placing his speakers (B1) on granite tiles to create a level and stable surface. We listened to our first side (Grateful Dead – Live Dead ) and a couple of guys familiar with the side thought it sounded “veiled.” Even though I was not familiar with the piece and an audiophile n00b I could tell it sounded a bit muddy. We listened to a classical piece – and more mud. Paul suspected the tiles and we removed them. We listened to a new side and things immediately opened up. We went back to the original Grateful Dead side and as one of the guys said “it is like a horse blanket has been removed from Jerry’s guitar.” Indeed it was like listening to new speakers. Lesson learned: The littlest things can screw up a great listening room – see an early blog entry on the importance of tuning a room.
Finally the latest issue of Wax Poetics showed up in my mailbox! Pwelbs tantalized me about a week ago that this issue would focus on Prince. Wax Poetics is my favorite magazine and Prince is in my top 5 musicians/bands of all time. Together at last.
I tossed on 1979’s Prince’s Prince album (album #2) on the turntable, leaned back in the recliner and quickly paged through it cover to cover. I then settled on Alan Leeds (Prince’s former tour manager) and wife’s remembrance of the Purple Rain tour. Wonderful insider’s view, but respectful – not a tell all. I can’t wait to read the rest of the issue.
Thanks to my kids for getting me a subscription to Wax Poetics a couple of years ago!
You know when some hip new band hits my radar screen they have some serious hype and a hell of a good PR person. Granted the fact they were local (Minneapolis) and there was a Gayngs (one of my favorite LPs of 2010) connection hooked me. I borrowed this release from Pwelbs (by way of the charming JSparks) and was so blown away I went out and bought a vinyl copy at the Electric Fetus.
What I found was some amazing beats with an amazing vocalist who has figured out how to use Auto-Tune as an instrument. Vocally this the equivalent of a female Bon Iver, but the music is much more funky, electronica, and hip-hoppy.
At first listen this seems very mellow, but the more you listen to the textures you realize how absolutely rocking this album is. The drumming is amazing – rock steady one moment and jittery the next. The overall effect is a laconic hyperactive juxtaposition that is gripping. Channy Leaneagh’s disembodied vocals are the perfect foil to the instrumentation. On paper these vocals should be detached, but instead they are soulful. On paper the beats are atmospheric, but instead they are funky.
Poliça pulls off a masterpiece.
I had the privilege of tagging along with Pwelbs to the first Twin Cities Music Brunch at the Loring Pasta Bar. The event was sponsored by CrowdNoize and Hydrive Shows. The idea was to get some of the young lions of the Twin Cities hip hop community together to network and brainstorm. The event was attended by talent (DJs, MCs, producers, etc.), business types (promoters, label staff, etc.) and hard-core enthusiasts (bloggers).
What impressed me most was the enthusiasm for the scene and the esprit de corps to see everyone succeed – a rising tides will lift all boats view. Everyone seemed to know each other, although some only virtually – so it was fun to see a little human touch.
My sense is the event was a success – some networking was done, some ideas were generated and most importantly some community was built. Good luck guys – I hope this is the start of many more similar events and further growth of the TC hip hop scene.
Over that last year I have picked up several bargain Brian Auger used LPs for a buck or two. Everyone of them has been fantastic and this one does not disappoint. This is from the early 70s and you can see how influential this group was on the jazz rock that followed them.
Some of the Oblivion Express vocals can be kind of cheesy, but Alex Ligertwood (who went on to fame with Santana) is a great vocalist on this LP. He reminds me a lot of Steve Winwood – which is a great vocal type to have with this kind of music.
Start the incense, dim the lights and put on this LP. You will be feeling groovy shortly.
I have read a couple of rave reviews of this album. Sadly I picked it up from emusic and it does nothing for me. It kind of reminds me of Cat Power, but without the soul. I don’t hate it, it just is unremarkable. I have listened to it five times and I don’t think I could tell you a single lyric or hum a riff.
I don’t want to give up on this album, but I may just need to set aside and come back to it later. Beware of the hype.
Sometimes the simplest things can make a huge difference. I received a JA Michell record clamp for Christmas this past year and I have been really enjoying it.
I wanted a nice clamp for my turntable, but was worried that some of the heavy styles would be hard on my motor so I was excited to receive this very light weight model. It uses preasure vs. weight and it is very dense material. It has even cured some of my slightly warped records.
A clamp gives you a stable sound image, better transient response, less distortion and a deeper sound stage. It is one of the most inexpensive upgrades you can make you you analog system.
Highly recommended.
Hail, hail to the Rock N’ Roll Music Sale in Maple Grove Minnesota. Last week I went to their sale and came home with a major stack of wax. This is mainly a vinyl event – they have CDs (but I did not even look).
For about 25 years I have been listening to a CD of Gregg Allman’s Laid Back. It has been one of my favortite albums. I picked up a copy at the sale for $2.00. I finally got around to listening to it tonight and what a mind blower.
It sounded fantastic. The first CD reissues were often very careless – grab whatever tape was available and burn it to digital. Maybe there are better version of the CD available, but I will be hard pressed to imagine any will beat this piece of vintage vinyl.
This is a magnificent album. Highlights include Allman’s own “Midnight Rider” and Jackson Browne’s “These Days.” This LP had a whole different groove from the Allman Brothers of the era – much more of a singer songwriter groove. If you ever find this in a crate for less then $5 grab it. Amazingly my $2 version was in excellent shape both the vinyl and the cover (wonderful gatefold).
Axl's Catch Groove 