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Larry Young - Spaceball CD (album) cover


Larry Young

Jazz Rock/Fusion

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Easy Money
Honorary Collaborator / Retired Admin
4 stars Larry Young's final album is a wonderfully quirky strange album, the kind that only Larry can put out. Funky jazz, early progressive rock, lounge exotica, bizarre disco and other types of instrumental music all come together on this strangely naive album that was out of step with the sophisticated and slick world of jazz fusion in 1976. Larry's synthesizer tones leap out of the mix and sound like those novelty synth records from the late 60s, it is as if he has just discovered the synthesizer ten years after the fact.

Some bands and artists that might come to mind as you listen to this rare gem include Bo Hanson, Sun Ra, Keith Emerson, Return to Forever, Nina Rota, Tony Williams Lifetime, Les Baxter, Frank Zappa and especially Parlaiment/Funkadelic, particularly their prog-rock influenced keyboardist, Bernie Worell.

My favorite cuts on this album are the ones in which Young plays in an instrumental style that sits just between instrumental progressive rock and 60s exotic synthesizer records. His layered keyboards and synthesizers have that pure analog sound that was becoming harder to find in the late 70s. On the other hand, the tunes that are less successful are the disco leaning funky jazz tunes. These cuts may have been his attempt at commercialism, but after he added all his weird synth lines, they ended up sounding pretty bizarre, and a little too 'creative' for most dance floors.

Along with Young, another big star on this album is guitarist Ray Gomez, one of the great overlooked fusion guitarists of the late 70s and beyond. He plays a couple blazing solos as well as some rapid syncopated rhythms.

I don't think this album is for everyone, a lot of people would probably be turned off by the cheeezy exotica elements, but I happen to enjoy records that combine exotica with prog-rock/fusion ie Bo Hanson's Lord of the Rings, Fripp-Summers' Bewitched, Andy MacKay's In Search of Eddie Riff, Phil Manzenera's Primitive Guitars and Return to Forever's synthesizer based fusion. This album isn't quite weird enough to belong in one of those incredibly bizarre music compilations, but it is close.

Report this review (#200968)
Posted Wednesday, January 28, 2009 | Review Permalink
4 stars I do not know a musician reformative like this so much in the organist of limited Jazz. The fact that always calls the reformation in music without being captured to the item of Jazz by him is guessed that there are people who evaluate it high also in the world. The nickname that is called, Larry is "John Coltrane that plays the organ" for Japan where I live has infiltrated. However, I do not know whether the nickname passes in the world. It might be difficult to find the fact to which he performs by the style of his music like Coltrane according to the album. He might not neglect [**ne] [wo] and the posture that keeps always being reformed be common with Coltrane. Therefore, puzzled is also true to his reformation and creation in the fan the admission of possession Larry of the fact. However, it might have been his belief that he always continued a reformative performance for the performance. The music that he had performed in the 1960's always had the groove. It might have been natural for him to perform it with "Lifetime" and other musicians.

This album is an album announced before two years his deaths and the last album of fact [kare]. His music character is consistently unfolded as for this album including very funky "Moonwalk" in the age. He arrived at this music character by his posture. There might be some reformative parts if it sees the flow of his music.

Report this review (#220841)
Posted Friday, June 12, 2009 | Review Permalink

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