Assigned by: Jaime Vargas Sanchez
Reviewed by: Victor Guimarães
The Tony Williams Lifetime! The rising times of jazz-fusion! Who was the ingenious mind who thought about mixing jazz improvisation and harmony with elements of rock music? And 60-70s rock! Even better! Give this enlightened someone a cookie! And to this enlightened group of musicians revolving around the creative genius of their leader, the jazz drummer, Tony Williams, another. Or a full jar, for that matter!
For the record, Emergency! is their debut album. The legend says it wasn’t well received by jazz fans back in ‘69… Critics that time now look back and bite their conservative tongues. Well deserved, as Tony and co. really were groundbreakers. Apart from some minor spoken lines, the album’s focus is fully instrumental. It sounds well for both rock and jazz listeners – although a bit more for jazz people, I think. (We could exclude, maybe, some conservative I-only-listen-to-x variations. We don’t count them in the statistics as they are not funny at all). As I enjoy both genres myself, I gotta say Tony and Co. would carry you alongside a longer-than-hour trip into their timeless sound experience. Expect creative instrumentals, jazz-like. Guitars could sport a rock-like approach, it tends to jazz. Drums would keep jazz-ing, rock-ing, then jazz-ing again, building the right tempo for the right situations, generally on par with the guitar. Ah! Don’t try. Don’t say a thing. This drumming is simply beautiful. Organs complete the melody, adding key touches and passages that would truly be missed. And although not listed in the official records, I definitely listen to a bass – an amazing, well-played bass. (No-bass jazz don’t make sense, c’mon). And, of course, there’s the room for improvisation. I can listen to this album a thousand times and I’d still think they gathered to practice and ended up recording this in one-shot, listened to everything, fixed some stuff and recorded again only because of their own perfectionism.
This Groundbreaking courage, this fusion, this spirit! Music definitely need more of that! Thanks to The Tony Williams Lifetime, we had doors open for this innovation. Your move, 2017 artists.
Review by: Andreas Georgi
Assigned by: Jaime Vargas Sánchez
This was a fun album to listen to, although I didn’t have as much time to digest it as I might have liked. This album is a compilation of material from the band’s previous material, put together after the death of one of their key members. The music was recorded in the late 90’s early 2000’s. Their style is very eclectic, based on flamenco or rumba, and incorporating a mix of international popular music styles, including rock, reggae, and even a bit of rap. These kinds of fusion often turn into a mess, but these guys merge the styles into a cohesive, unique style. There appear to be two singers, one who has a raspy voice more in line with (my relatively ignorant preconception of) flamenco singers, and another singer who sings in a higher register who reminds me of Manu Chao a bit.
The album title and many of the lyrics make reference to “garrapatas”, or ticks. The reference seems to refer to humble and/or rural origins (I don’t know their biographies). Many of the songs refer to the street, and to life on the margins of society. The tick metaphor seems to be used as a symbol of freedom from the trappings and expectations of society. I do speak Spanish, but a lot of Spanish/Andalusian slang & cultural references went over my head.
Overall quite an enjoyable album. If you don’t understand the lyrics, you’ll miss out on the humor, but you’ll still enjoy the music. Fans of the afore-mentioned Manu Chao would probably like this album. Thumbs up.
Review by: Jaime Vargas Sánchez
Assigned by: Andreas Georgi
In a way, it’s a bit weird that I’m frequently at a loss for words when reviewing electronic music, since it was the first genre that caught my attention back in my youth, but it’s true. Anyway, Yello are an electronic music group, initially a trio, and this is their first album. Their music can be described as artsy synthpop with a strong emphasis in rhythm (including some non-trivial ones, like the Latin-derived beats in “Downtown Samba”, which are quite a feat for a band whose music is mainly programmed – apart from the singer, the other members are a tape manipulator and a samplist), but that does not exclude them from going for some darkish (with tongue firmly in cheek) ambient parts, like the “Massage”/”Assistant’s Cry” sequence. The record sounds also quite varied because Yello take the route of recording many short songs, which is unexpected (you’d usually think a straight dance number like “Bostich” would be a 7 minute rave, but here it lasts only two). In short this is the kind of album that I don’t think I could “love”, but would not mind returning to it some day.
Review by: Jaime Vargas Sánchez
Album assigned by: Andreas Georgi (who’s going to pay for this)
I quickly sampled the album and my first impression is that just thinking that I have to listen to 43 minutes of this makes me wanna curl up in a corner and weep.
It’s off key vocals without power nor color, backed by some amateurish banging at some zither like instrument. Ah no, it’s apparently a guitar. When you can’t identify an instrument that plays solo it means that whoever is playing it is SO UNSKILLED that cannot even make it sound like itself.
Okay, I cannot stand this. I don’t like it. Nobody does. Everybody who says they like it are lying and being pretentious. This is an offense on humanity. MAKE IT STOP. MAKE. IT. STOP.
Oh, wait a moment.
I realised I’m not forced to do this.
I can make it stop myself.