Review by Thom Jurek
Something must be up at Telarc Records. Long renowned as a blues and either straight or smooth jazz label, they've been branching out. Earlier in 2006 the label kicked out the killer One-Two Punch by Mars Williams and Liquid Soul, easily their most consistent and groovalatious album, and now comes the third solo date by Galactic tub thumper Stanton Moore. III is Moore's least ambitious yet. (Yeah, baby, that's a good thang.) Moore, organist and composer Robert Walter, and king of the underground six-string slinger sophisticates Will Bernard have come up with a deep, ass-shaking groove jazz trio date. Oh yeah, remember all those dates on Blue Note by John Patton, Baby Face Willette, Lou Donaldson, and Fred Jackson? Uh huh. Now y'all are gettin' it. The only real difference is there isn't anything retro in the approach this trio lays down. These are future funk grooves made by basic instrumentation from the past. Moore's always been about shakin' it down, but in the past his sense of syncopation and adventurous instrumental dictates won out over solid, in-the-pocket funkifying. That's not to say that All Kooked Out! and its predecessor, Flyin' the Koop, weren't good records...hell, they were great. But they were complex jazz and soul studies, whereas III is nothing but greasy. Walter composed the vast majority of the tunes here, and rather than dig deep into the wildly progressive side of his nature explored exponentially with his 20th Street Congress or the Greyboy Allstars, he keeps his backbeat funk close to the vest here (check the opener, "Poison Pushy"). Even when employing saxophonist Skerik and trombonist Mark Mullins, on "Chilcock" he keeps the blues in the mix and digs into them heartily. The album opener, "Poison Pushy," touches the classic soul-jazz trio territory just enough to let you know what it's about, but then extrapolates on the paradigm with his arpeggios and Moore's chronic double-time breaks.
Bernard composes here, too; his "Dunkin' in the Deep" uses the horn section as well. He establishes the riff; the band digs in with Moore burning at the front end; and once it's good and gritty, the horns enter and push it outside a bit. Skerik's solo is a beautifully ugly thing to behold. He plays around Moore's circular beat and winds it outside enough to make the tune really go somewhere. There are a couple of real surprises here as well: the band's arrangement of Led Zeppelin's blues ripoff "When the Levee Breaks" is turned into mighty soul-blues and the reading of Abdullah Ibrahim's classic "Water from an Ancient Well" takes the South African composer/pianist's melody and allows it to serve the rhythm section without ever stretching it to the breaking point. Bernard's playing on this set is out of this world, and perhaps his best and most imaginative ever captured on tape. (Hopefully other players who hear this will be snapping him up for work. Listeners need another sideman's voice besides Bill Frisell's.) The platter ends on an emotional and tender read of the traditional "I Shall Not be Moved," with Bernard playing slide guitar to state its gospel-like melody as Walter plays single, long-breathing chords quietly in the background. Moore enters with a quiet march beat on the tom-tom and the tune stays quiet, dignified, and spiritual. Without the electricity it could have come from the 19th century, played on an accordion with a drummer playing a roll on his marching tom. The album is transformed from Saturday night stomp to Sunday morning stillness and moves off into it. As a bandleader, Moore's got it all: he has the right players for whatever he might attempt, and this is the finest example of that yet. It's from the heart, and it's got all the sass, spit, vinegar, and laughter that the great soul-jazz records of old had, and proves that the format isn't done by a long shot.
Something must be up at Telarc Records. Long renowned as a blues and either straight or smooth jazz label, they've been branching out. Earlier in 2006 the label kicked out the killer One-Two Punch by Mars Williams and Liquid Soul, easily their most consistent and groovalatious album, and now comes the third solo date by Galactic tub thumper Stanton Moore. III is Moore's least ambitious yet. (Yeah, baby, that's a good thang.) Moore, organist and composer Robert Walter, and king of the underground six-string slinger sophisticates Will Bernard have come up with a deep, ass-shaking groove jazz trio date. Oh yeah, remember all those dates on Blue Note by John Patton, Baby Face Willette, Lou Donaldson, and Fred Jackson? Uh huh. Now y'all are gettin' it. The only real difference is there isn't anything retro in the approach this trio lays down. These are future funk grooves made by basic instrumentation from the past. Moore's always been about shakin' it down, but in the past his sense of syncopation and adventurous instrumental dictates won out over solid, in-the-pocket funkifying. That's not to say that All Kooked Out! and its predecessor, Flyin' the Koop, weren't good records...hell, they were great. But they were complex jazz and soul studies, whereas III is nothing but greasy. Walter composed the vast majority of the tunes here, and rather than dig deep into the wildly progressive side of his nature explored exponentially with his 20th Street Congress or the Greyboy Allstars, he keeps his backbeat funk close to the vest here (check the opener, "Poison Pushy"). Even when employing saxophonist Skerik and trombonist Mark Mullins, on "Chilcock" he keeps the blues in the mix and digs into them heartily. The album opener, "Poison Pushy," touches the classic soul-jazz trio territory just enough to let you know what it's about, but then extrapolates on the paradigm with his arpeggios and Moore's chronic double-time breaks.
Bernard composes here, too; his "Dunkin' in the Deep" uses the horn section as well. He establishes the riff; the band digs in with Moore burning at the front end; and once it's good and gritty, the horns enter and push it outside a bit. Skerik's solo is a beautifully ugly thing to behold. He plays around Moore's circular beat and winds it outside enough to make the tune really go somewhere. There are a couple of real surprises here as well: the band's arrangement of Led Zeppelin's blues ripoff "When the Levee Breaks" is turned into mighty soul-blues and the reading of Abdullah Ibrahim's classic "Water from an Ancient Well" takes the South African composer/pianist's melody and allows it to serve the rhythm section without ever stretching it to the breaking point. Bernard's playing on this set is out of this world, and perhaps his best and most imaginative ever captured on tape. (Hopefully other players who hear this will be snapping him up for work. Listeners need another sideman's voice besides Bill Frisell's.) The platter ends on an emotional and tender read of the traditional "I Shall Not be Moved," with Bernard playing slide guitar to state its gospel-like melody as Walter plays single, long-breathing chords quietly in the background. Moore enters with a quiet march beat on the tom-tom and the tune stays quiet, dignified, and spiritual. Without the electricity it could have come from the 19th century, played on an accordion with a drummer playing a roll on his marching tom. The album is transformed from Saturday night stomp to Sunday morning stillness and moves off into it. As a bandleader, Moore's got it all: he has the right players for whatever he might attempt, and this is the finest example of that yet. It's from the heart, and it's got all the sass, spit, vinegar, and laughter that the great soul-jazz records of old had, and proves that the format isn't done by a long shot.
///////
Reseña de Thom Jurek
Algo debe estar pasando en Telarc Records. Durante mucho tiempo, este sello ha sido conocido por sus discos de blues y jazz, pero ahora se ha diversificado. A principios de 2006, el sello lanzó el magnífico One-Two Punch de Mars Williams y Liquid Soul, sin duda su álbum más consistente y groovalesco, y ahora llega la tercera fecha en solitario del músico de bañera Galactic Stanton Moore. El III es el menos ambicioso de Moore hasta ahora. (Moore, el organista y compositor Robert Walter, y el rey de la sofisticación underground de las seis cuerdas, Will Bernard, han creado un trío de jazz profundo y con mucho groove. Oh sí, ¿recuerdas todas esas fechas en Blue Note de John Patton, Baby Face Willette, Lou Donaldson y Fred Jackson? Sí. Ahora lo están entendiendo. La única diferencia real es que no hay nada retro en el enfoque de este trío. Son grooves de funk del futuro hechos con instrumentación básica del pasado. Moore siempre se ha dedicado a sacudirlo, pero en el pasado su sentido de la síncopa y los dictados instrumentales aventureros se impusieron a la funkificación sólida y de bolsillo. Eso no quiere decir que All Kooked Out! y su predecesor, Flyin' the Koop, no fueran buenos discos... diablos, eran geniales. Pero eran complejos estudios de jazz y soul, mientras que el III no es más que grasa. Walter compuso la gran mayoría de los temas aquí, y en lugar de profundizar en el lado salvajemente progresivo de su naturaleza, explorado exponencialmente con su 20th Street Congress o con los Greyboy Allstars, mantiene su funk backbeat cerca del chaleco (comprueba el comienzo, "Poison Pushy"). Incluso cuando emplea al saxofonista Skerik y al trombonista Mark Mullins, en "Chilcock", mantiene el blues en la mezcla y se sumerge en él con ganas. La canción que abre el álbum, "Poison Pushy", toca el territorio clásico del trío de soul-jazz lo suficiente para que sepas de qué se trata, pero luego extrapola el paradigma con sus arpegios y los crónicos quiebros a doble tiempo de Moore.
Bernard también compone aquí; su "Dunkin' in the Deep" también utiliza la sección de vientos. Establece el riff; la banda se atrinchera con Moore ardiendo al frente; y una vez que es bueno y arenoso, los cuernos entran y lo empujan un poco hacia afuera. El solo de Skerik es una cosa hermosa y fea de contemplar. Juega con el ritmo circular de Moore y lo saca lo suficiente como para que la melodía llegue a alguna parte. Hay un par de sorpresas reales aquí también: el arreglo de la banda del blues ripoff de Led Zeppelin "When the Levee Breaks" se convierte en un poderoso soul-blues y la lectura del clásico de Abdullah Ibrahim "Water from an Ancient Well" toma la melodía del compositor/pianista sudafricano y le permite servir a la sección rítmica sin estirarla hasta el punto de ruptura. La forma de tocar de Bernard en este set es de otro mundo, y quizás la mejor y más imaginativa que se haya grabado jamás. (Esperemos que otros músicos que escuchen esto le pidan trabajo. Los oyentes necesitan otra voz de acompañante además de la de Bill Frisell). El disco termina con una emotiva y tierna lectura de la tradicional "I Shall Not be Moved", con Bernard tocando la guitarra slide para expresar su melodía evangélica mientras Walter toca tranquilamente acordes simples de largo aliento en el fondo. Moore entra con un tranquilo ritmo de marcha en el tom-tom y la melodía se mantiene tranquila, digna y espiritual. Sin la electricidad, podría haber venido del siglo XIX, tocada en un acordeón con un batería tocando un rollo en su tom de marcha. El álbum se transforma del zapateado del sábado por la noche a la quietud del domingo por la mañana y se adentra en ella. Como director de banda, Moore lo tiene todo: tiene los músicos adecuados para cualquier cosa que intente, y éste es el mejor ejemplo de ello. Es un disco que nace del corazón y tiene todo el descaro, la saliva, el vinagre y la risa que tenían los grandes discos de soul-jazz de antaño, y demuestra que el formato no está acabado ni mucho menos.
Bernard también compone aquí; su "Dunkin' in the Deep" también utiliza la sección de vientos. Establece el riff; la banda se atrinchera con Moore ardiendo al frente; y una vez que es bueno y arenoso, los cuernos entran y lo empujan un poco hacia afuera. El solo de Skerik es una cosa hermosa y fea de contemplar. Juega con el ritmo circular de Moore y lo saca lo suficiente como para que la melodía llegue a alguna parte. Hay un par de sorpresas reales aquí también: el arreglo de la banda del blues ripoff de Led Zeppelin "When the Levee Breaks" se convierte en un poderoso soul-blues y la lectura del clásico de Abdullah Ibrahim "Water from an Ancient Well" toma la melodía del compositor/pianista sudafricano y le permite servir a la sección rítmica sin estirarla hasta el punto de ruptura. La forma de tocar de Bernard en este set es de otro mundo, y quizás la mejor y más imaginativa que se haya grabado jamás. (Esperemos que otros músicos que escuchen esto le pidan trabajo. Los oyentes necesitan otra voz de acompañante además de la de Bill Frisell). El disco termina con una emotiva y tierna lectura de la tradicional "I Shall Not be Moved", con Bernard tocando la guitarra slide para expresar su melodía evangélica mientras Walter toca tranquilamente acordes simples de largo aliento en el fondo. Moore entra con un tranquilo ritmo de marcha en el tom-tom y la melodía se mantiene tranquila, digna y espiritual. Sin la electricidad, podría haber venido del siglo XIX, tocada en un acordeón con un batería tocando un rollo en su tom de marcha. El álbum se transforma del zapateado del sábado por la noche a la quietud del domingo por la mañana y se adentra en ella. Como director de banda, Moore lo tiene todo: tiene los músicos adecuados para cualquier cosa que intente, y éste es el mejor ejemplo de ello. Es un disco que nace del corazón y tiene todo el descaro, la saliva, el vinagre y la risa que tenían los grandes discos de soul-jazz de antaño, y demuestra que el formato no está acabado ni mucho menos.
Tracklist:
01. Poison Pushy [04:17]
02. Licorice [03:54]
03. Big Uns Get the Ball Rolling [05:44]
04. Chilcock [06:40]
05. (Don't Be Comin with No) Weak Sauce [05:06]
06. Dunkin in the Deep [06:40]
07. Maple Plank [06:29]
08. Water from an Ancient Well [07:14]
09. When the Levee Breaks [05:39]
10. I Shall Not Be Moved [02:59]
Personnel:
Stanton Moore - drums,
Robert Walter - Hammond B3 organ,
Will Bernard - guitar,
Skerik - tenor saxophon,
Mark Mullins - trombone.
Release Date September 26, 2006
Duration 54:42
Genre Jazz
Styles Jazz-Funk, Soul Jazz, Jazz Instrument
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