Prog Rock Must Die!
Here's to admitting a dark, deadly secret. I like jazz rock fusion. I figure that calling the often criticized style by its two common names will somehow make it clear what it is, or was: The melodic and harmonic language of jazz (think Ellington, Monk, Miles) crossed with the heathen rhythms of rock = fusion. Of course, the only heathens left in rock are on TV and aging fast: Ozzy, Gene, and Ozzy's bloated wife, while American jazz has turned into a museum of moldy figs clinging to the past as dictated by Wynton Marsalis and Ken Burns. (Not true for its European counterpart, where the music, especially on the ECM label, constantly reinvents itself with folk and classical influences.) But even after its '70s high ground, fusion has continued to morph, grow and find fans. Of course, prog metal (ala Dream Theater, Spock's Beard, Porcupine Tree) has captured the attention of young men (fusion's typical audience) intent on finger speed and muscle tension, but true jazz fusion is a more limber, interesting and mobile vehicle.
And today's fusion crosses multiple borders, from the Cuban explosions of drummer Dafnis Prieto and organist Sam Yahel's churning B3 trio blowouts, to the soaring sonic imagery of the Pat Metheny Group, the mind warping rhythms of Nerve pioneer Jojo Mayer, and Joshua Redman's Elastic Band. With jazz improvisation at its core, fusion can go places prog rock wouldn't dare, shackled as it is by a fixation on Pro Tools cleanliness and ultimate control at all costs. Fusion is a more unpredictable beast. But look fast, cause the music keeps changing shape, crossing time zones, and blowing minds.
Guitarist Alex Milella salutes the icons of modern guitar fusion on Light Shades (Nicolosi). Fellow guitarists Allan Holdsworth, Scott Henderson and Mick Goodrich inspired Milella to pursue his fusion dreams in a cross section of styles. A native of Italy, where the jazz art still reigns, Milella is no innovator, but Light Shades is an enjoyable ride through familiar fusion styles. Opener "High Pressure" recalls Henderson's Dr. Hee period, "Allan's Worth" is a stone rip-off of the textured production and flexible rhythms on Holdsworth's classic Secrets, and "Signal For Scott" hints at Henderson's excellent Face First and Tribal Tech albums, right down to their wiry guitar sounds and staccato rhythms.
American guitarists like Chuck Loeb and Joyce Cooling have made a hefty living copying Pat Metheny, why not an Italian who does them one (and two and three) better? Milella kicks a funky butt throughout the album's 10 tracks, he and his crack band playing snake-like circuitous melodies over fusion friendly grooves. Will this put you in mind of '70s blood spilling fusion like Mahavishnu Orchestra? Nah, it's safe for the kids, the G-ma and even the Weather Channel.
Alex Milella
"Signal For Scott (To Scott Henderson)" (mp3)
from "Light Shades"
(Nicolosi Productions)
More On This Album
Danny Gottlieb's Jazz Rescue Squad: Drummer Danny Gottlieb played in the original incarnation of the Pat Metheny Group, the mid '70s band that exploded in popularity via the guitarist's toothy grin, incredible chops, and complex arrangements which blew through a listener's mind like a sun-drenched tsunami. Metheny gave Gottlieb the axe in the mid-'90s, replacing him with the world-wise Paul Wertico. But Gottlieb's method of highlighting Metheny's compositions with a small orchestra of cymbal colors remained an established practice for all his drummers since.
Gottlieb's sticking style had grown perhaps too heavy and dense for Metheny's increasingly airy productions, and the drummer took a variety of gigs including work with former Metheny bassist Mark Egan, WDR Big Band, John McLaughlin, NY organist Pete Levin, Mike Stern and Al DiMeola.
Gottlieb returns as a leader with Danny Gottlieb And The Nairobi Trio (Nicolosi). The Nairobi Trio alludes to a possible African connection, but this trio is actually comprised of fellow American jazz honchos Andy Laverne (bass) and Chip Jackson (bass). Laverne also has a CD under the same title, and as it's hard to find info for either release, they look to be the same release. This is standards jazz, nothing new, nothing blue, just solid straight ahead from a competent trio. Their version of Herbie Hancock's "Maiden Voyage" provides some real sparks however, Gottlieb popping the groove with spark plug punctuations.
Danny Gottlieb and The Nairobi Trio "Maiden Voyage" (mp3)
from "Jazz Classics"
(Nicolosi Productions) More On This Album
World jazz too: For a taste of excellent world-tinted jazz, Montreal pianist Félix Stüssi adopts a feather light but stinging touch for Give Me Five (Sopref). Every track is propulsive and interesting, from the knockabout rhythms of "Yann, The Boogieman" and the punchy "Hit ‘em With Rhythm" to the mysterious jazz waltz of the title track. Sure, this is cocktail jazz to some, but beneath its surface, Stussi's sophisticated swing hints at a pure freedom jazz dance.
Félix Stüssi "Give Me Five" (mp3)
from "Give Me Five"
(Sopref) More On This Album
