JAZZ ROCK/FUSION

I cherish the previous three albums of the Jaga Jazzist a lot. In fact, "What We Must" for me is one of the best albums of the 2000s. I like the powerful big arrangements, and how all the musicians come together in one big stream that however still leaves room for some subtleties, majestic rather than heavy; also their melodies have a capacity to stay in my mind for long, and to take me with them.

Pyramid is maybe their most relaxed album (at least of the later ones). There are still eight musicians listed for this one, but over large parts of the album we hear say 3-5 at a time, so somewhat more space is left for escaping the stream of things, which also takes more time to kick in during the four pretty long and slowly developing instrumental tracks. It seems they wanted to integrate some post rock elements in here; there are also some electronic elements (particularly in Apex with its sequenced synthesizer rhythm that at time sounds a bit like the 2019 Battles album I just reviewed yesterday). Some of the best moments come when a sparse rhythmic beginning is re-interpreted and changed in a surprising yet logical manner when new instruments come in, for example in the build up of Spiral Era and The Shrine.

However, the typical Jaga Jazzist elements like the breezy nordic woodwind and brass melodies are still there. Arrangements are leaner than before but still the musicality works well putting together very organic and natural sounding music. So I can well imagine both Jaga Jazzist fans and people with a melodic post rock or also somewhat jazz influenced background enjoying this, and actually I do, too. It is indeed very nice and relaxing music. This one issue I have with this is that the amount of ideas and variation isn't much for 39 minutes of music. It's a good album from beginning to end, still I somehow feel that they might have put only 30-50% of the energy and work into this than into their previous efforts, with some of the best parts harking back to their earlier albums, for which reason I will only give this 3.2 stars. Anyway its nature may appeal to some and may even make it an entry point to the great Jaga Jazzist if you come from the right direction.

Listening diary 12th January, 2021: Mar de Robles - Indígena (progressive rock, 2007)

Nothing too special here, but this is a pretty nice instrumental prog album that has a bit more to keep you in than most instrumental prog albums. The star here is the saxophone, carrying the lead on a few songs and giving a great point of difference. At times it almost feels like a softer version of Merkabah, particularly in the kind of melodies that the saxophone holds and the way they allow it to carry the songs.

6.0 (3rd listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

Now here's a good eclectic prog group not every-one knows about; Blue Effect from Czechoslovakia (during the communist regime) grew from a psychedelic rock band into a brass-rock group (the two Nova Synteza albums) into a full-blown progressive rock group - not unlike a group like SBB from Poland. Soundwise this album reminds a bit of Focus during their 'Hamburger Concerto' phase. I hear Influences from jazz (rock), classical, church music and few, but effective vocals. Some moments remind a bit of Gentle Giant's first three albums. The Finnforest debut also comes to mind as a good reference. By now guitarist Radim Hladík sounds like he could play as well and as fierce as Jan Akkerman on his Les Paul. The keyboards, organs and synths by Oldřich Veselý deserve a volume boost in the mix, but they are very tasteful and effective. The first ten minute instrumental track 'High Chair, Long Ashes' has the band showing its variety in influences and musical prowess. Blue Effect becomes more effective when it comes to songwriting and setting a majestic atmosphere on the second track 'Dew Is Falling, Falling' with beautiful pastoral vocals. The blues guitar of Hladík shines brightly here on a chord progression that could have been written by PFM. Lovers of the ARP string synths are also in for a treat. 'On Saturday Afternoon', the last piece on the first side show the band in an exciting fusion rock mode reminding me of Focus, SBB and Mahavishnu. The second side is reserved for the epic 'Svitanie' or 'Dawning'. This is a particularly interesting mix of styles with slow-pace blues as its backbone, yet it sounds distinctively progressive in its execution. The pastoral opening section reminds me a bit of Focus' 'Eruption', and not only because of the in-fading guitar of Hladík. On this track the bass guitar of Fedor Freso plays a more melodic role. Its quite interesting how this track has a low pace for most of its running time and stays exciting all the same. In conclusion, this is a very strong eclectic prog album and fans of seventies prog should really consider getting a copy of this. Right now there's a new vinyl print on the Opus label that sounds fine.

Marbin fans have been spoiled over the last year or so, with both Danny and Dani releasing albums under the Marbin banner in 2020 which were basically solo releases showing a different side of the band, and then the powering 'Shreddin' At Stillwater' release earlier this year and now here we have 'Fernweh' which shows yet another side of the band. This time they are operating as a trio, so Danny and Dani are again joined by Jon Nadel, who this time is playing double bass. Why a double and no drums? That is because the guys have gone back in time, Dani is on acoustic, and we have a gypsy jazz album which sounds as if it could have come from the Thirties.

Anyone who has studied their jazz will be familiar with the Paris-based Quintette du Hot Club de France, which was formed by guitarist Django Reinhardt, but whereas he played against the incredible violinist Stéphane Grappelli, here Dani is with Danny in a relationship that has seen them play thousands of gigs together. This is music that just swings, really swings, and this totally different style shows the band reaching new heights. By removing the percussion there is room for everyone to breathe, and there is space within the sounds which allows the notes to really move. Of course, it would not be Marbin without the guys allowing themselves to go for incredibly high note density, but this is all about having it in its place, so there is also plenty of time for simplicity and delicacy which equate some truly beautiful moments. The bass line is never overly dominant, but it is sumptuous, and the breadth and width of those notes provide plenty of support for the melodic instruments on top.

This feels more restrained, more controlled and considered, than many Marbin releases, as if they have slowed down and taken a different look at the world, as many of us have over the past year, and the result is something very special indeed.

— First review of this album —

For a band that normally plays in excess of 250 gigs a year, the COVID pandemic had a major impact, resulting in the cancellation of more than 100 already booked gigs and Danny and Dani taking the longest ever break from live performance since they got together in 2007. So when the opportunity arose to record a live set at Stillwater Studios they jumped at it: It may have been eight months since they had been together but one would never guess that from the performance. They were joined again by bassist Jon Nadel and drummer Everette Benton Jr., Nadal has been with the band since 2016's 'Goat Man & The House Of The Dead' while Benton Jr. was on 2019's 'Strong Thing'.

Whereas the previous studio album, 'Russian Dolls' was very different in many ways, more like a solo album from saxophonist Danny Markovitch than a full Marbin release, this is totally different, with guitarist Dani Rabin relishing the opportunity to really let rip. Also, did you know that a saxophone can shred? Just listen to "Whiskey Chaser" if you want proof, as while there are times when both soloists take off on their own, it is when they are joined at the hip and ripping through the notes that they really stand out. Benton Jr. is a very powerful drummer, constantly providing fills and driving it on, while Nadal often has to provide the structure and melody while the two at the front go off at tangents. Their work ethic over the years means they have spent thousands of hours playing side by side, so Dani and Danny know instinctively when to drive, and when to sit back and let the other take control, and the result is a storming album which is powering fusion, but with a harder edge than many.

'Russian Dolls' came about in 2020 when saxophonist Danny Markovitch came across an old musical notebook when he and his wife were reorganizing their house. The songs inside were written when he was in a very different space, in that he was a new immigrant to America, had only recently left the army etc. Danny realized there was probably enough material for an album, so he spoke to Dani (guitar, bass) and asked what he thought. He agreed, as long as they could get in a good drummer, so they compromised and brought in a great one in Grammy and Golden awards winner Antonio Sanchez! The title was inspired by Danny's Ukrainian wife, who has some different sets of Russian dolls and had written an essay on them describing them as a vision of ourselves, a collection of different people inhabiting the same body (our teenage selves, young love, married, work etc).

This is quite a different album in many respects to what I generally think of as a Marbin album, and in many ways is much more of a solo album from Danny, which probably is not really a surprise given its genesis. The role of both Dani and Antonio is to provide support on an album which is far more straight jazz than the normal hard-edged fusion we have come to expect, although there are also some elements of Israeli folk and even some Latin. Danny has a wonderfully delicate and fluid touch on the sax, sliding up and down seamlessly, while his partner in crime has played literally thousands of shows with him so knows exactly what is needed to provide perfect support, while Antonio can sit on anything and get it right first time. Dani states that he is inspired by the likes of Charlie Parker, Julian "Cannonball" Adderely, Louis Armstrong and Sidney Bechet, and like those greats he manages to tread that fine line of incredible dexterity and skill with strong melody and passion, so there are times such as on the tango-like "Things of Dry Hours" where everything is slowed back and in a particular groove, whereas as others the note density it surreal.

This is a thoroughly enjoyable, yet quite different release from one of the top jazz fusion bands around.

Formed in 2007 by Israeli American guitarist Dani Rabin and Israeli saxophonist Danny Markovitch, (the bandname being taken from 3 letters of one surname, and 3 of the other) this 2014 album was actually their fourth release, and was their first official live recording. Although it has always been based around Dani and Danny, Marbin do seem to go through rhythm sections and this one was recorded with drummer Justyn Lawrence and bassist Jae Gentile, who also appeared on the previous studio album, 'Last Chapter of Dreaming', but would not appear on the next studio album, 2015's 'Aggressive Hippes'. At the time of this recording the band had played more than 1000 gigs in just over three years, so it is no wonder that they are incredibly tight.

The rhythm section provides the backdrop and foundation for the two lead players, who may combine in complex duets such as on "Culture", then at others they just provide support while the other goes off on a wild ride. There are times when the sax and combine together in a way which is very reminiscent of Allan Holdsworth, someone who they opened for previously, but for the most part these guys are way more aggressive than any other fusion band I can think of. It is fusion with a heavy edge, with Dani driving it hard and even when he is supporting Danny, he rarely sits back but makes sure the music is always in your face. There are times when the quartet drops into trio mode, but it never for too long yet allows for the dynamics to change and take on new meaning. The result is a live album by a band right on the top of their game, providing exciting and vibrant manner which only comes about when guys basically live on the road. Now if only they would come down to Aotearoa.

This is the second of three studio albums this UK band put out in the early seventies. A step down for sure from the debut as they get a little more streamlined with the vocals being more prominent. Named after the lead singer this is a four piece with the guitarist adding piano, organ and vibes while we also get a bass player and drummer. There's three tracks on here that I put an "X" beside which simply means it's poor at best. But there is a song that I did enjoy quite a bit called "Air-Raid Shelter". The vocals aren't as rough and this one is bluesy, even the guitar. Funny but the bass is jazzy then suddenly the song turns jazzy before 3 minutes which to my ears sounds much better. Nice drum work before 6 minutes too. Overall this album is a blend of Jazz, Folk and Blues and not being a fan of the singer means a low 3 stars is all I got.

Solid Progressive Soul.

Mandrills fourth album is a double album. Double albums in my opinion tend to be an exercise in bloat and filler. This is one such case. While there are delightful moments, all to often they are sandwiched between mediocre songs which really prevents the album from escaping 3*. I find the weakest element of Mandrill and by extension Mandrilland is the bands low ability to create convincing vocal songs. Many of the short poppy songs are done at a very mediocre level, Positive Things, The Road To Love and El Funko for example. That's not to say every song with singing I find unpleasant, the pastoral Reason I Sing is nice, as is Khidja. On another positive note I find Mandrill tends to create instrumental of far higher quality then other proprietors of their style, including Demon Fuzz. Mini Suite For Duke is wonderful, far less repetitive then I've come to expect from Progressive Soul although, some like Skying Upward are pretty dull.

Overall this is good album, I like the sound, I like the way some of the songs segue into another, forming suites (side 1). Finally I recommend starting with side 4 first.

It's like early Earth Wind, And Fire or Osibisa.

You get some Africa inspired tracks, some funk and some jamming. There's a nice mix of style on the album.

Zion And I is like an older style reggae tune, not quite the poppier Bob Marley style.

One More is like a smooth jazz little ditty, no vocals just quiet instruments chilling it up in the foreground while guitar plays its liquid lead.

Getting It Back starts with ominous sounds then heads into an early 70s funk sound with light worldly percussion. The vocals are done competently and the horns add something nice.

Listen continues in the direction laid by Getting It Back. A bit more Motown, but not like on the hits but a filler track on a The Supremes early 70s album. This song strikes me as over long, should have been trimmed of unnecessary repetition at some points.

Rick Shaw opens with some nice percussion work that is joined by hypnotic bass and flute. This part is nice, shows the beginning of Getting It Back wasn't a fluke. While not the star player e piano fills adds some hair to this number. Later the flute exits and a nice guitar solo comes in. Then the tunes theme, played on flute/trumpet takes the song to its conclusion. A very solid instrumental.

Dove, the longest song on the record opens up well with emotional guitar work and sparse percussion/bass. At around a minute the song picks up and the guitar solo proceeds over a more vigorous rhythmic bedrock. In the middle of the song some la la las come in for a bit alongside flute. The guitar then returns until about seven minutes when the vocals come back. After this the rhythm changes to the openings. At nine minutes the rhythm return to how it goes for most of the song and Dove ends with a stop then cymbal swell, done. I must say the guitar is done very tasteful on here, while maybe not the best guitarist they know how to keep the same notes interesting by mixing up the technique. Gradually they leave less space between when they unleash some notes, hit double stops and use vibrato/bends to build interest as the jam continues. This one reminds me of Santana's longer instrumentals or Ice off I Can See Your House From Here.

Bra returns to the standard funk style of the album found on Getting It Back/Listen. The bridge here features a nice saxophone on lead. A second bridge after the second verse/chorus features cowbell and bass on lead, very nice. The song just ends after the third verse/chorus.

The Message opens with organ and vocals that remind me of Prince due to the combination of Fasetto and not-really-sung-spoken- word-singing style of the man. The organ is an important instrument of funk so it's work here is absolutely welcome.

Rastafarian Folk Song opens with speaking to the listener about the song and some kind of explanation. Then the song begins with percussion and choral vocal work. Pretty much exactly what the title says.

Overall it's a good record but I think if your not interested in the sound of bands like Mandrill or Demon fuzz or the other bands I've mentioned you probably won't enjoy this one.