At the start of his busy career Keith Jarrett spent seven years carrying out all manner of crazy experiments with his American Quartet. Between the years of and , the pianist, alongside Charlie Haden, Paul Motian and Dewey Redman ran some kind of mad laboratory in which the genres of hard bop, free-jazz, world and avant-garde would all come together.
A spontaneous and interesting time worth rediscovering. Categories: All Back. Cart 0 Your cart is empty. Available in Bit CD Quality Unlimited Streaming Listen to this album in high quality now on our apps Start my trial period and start listening to this album.
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You are currently listening to samples. Rococo Album Version. Labyrinth Album Version. Kaleidoscope Album Version. Who's Got Three? Album Version. Weed Whacker Album Version. Couch Potato Album Version.
Chennai Album Version. Subterfuge Album Version. Misunderstood Album Version. See More. Eliminator ZZ Top. Jagged Little Pill Alanis Morissette. Hi-Res Masters: Jazz Guitar. Top Streaming - Female Artists. Musica da lettura Paolo Fresu. Kind Of Blue Miles Davis. John Coltrane, the Continuous Blow n Just half a century ago, the American saxophonist passed away at only 40 years old, leaving behind many recordings which have revolutionized the history of his instrument, of jazz, and also of the music of the twentieth century.
Prog Rock in 10 Albums Influence is a shapeless thing, moving and rearranging based on sounds from the past and how they align with sounds from the present. Diana Krall, as Elegant and Sophisticated as Ever! Thankfully, the new set is a single disc, and for fans of the band there is plenty here to delight. The fusion of instrumental musics here -- jazz, bluegrass, funk, classical, and some global sounds is called by Fleck "serious Flecktones.
For starters, the quartet dig into Bach 's Preludes and Fugues No. It's a classic piece of the Flecktones wearing the original enough to make it their own. It's entertaining only for the sound of Fleck 's Gibson Mastertone banjo.
Much more compelling is "Labyrinth," a winding, knotty journey through jazz and improvisation -- the funk undertones of the piece are carried by Victor Wooten 's gnarly bass line. What moves this cut is Jeff Coffin 's wondrous tenor playing. But the moving playing in the bridge between the aforementioned pair over the skittering acoustic drums and programmed Drumitar keeps it grounded even when the piece becomes more abstract toward the end. The lyrical abstraction on the ballad "Who's Got Three" is amorphous but eerie and beautiful.
It slips directly into the nearly straight-ahead swinging jazz of the horribly titled "Weed Whacker. There are simply so many things vying for attention, seeking to make themselves known here, that a few less would have made individual compositions stand out more. The wandering, perhaps meandering, minor-key Middle Eastern flavor of "Chennai" works well because it's not cluttered and has distinctly different phases.
The funky "Subterfuge" is just plain boring, and "Misunderstood" is just a mess, a mishmash of half-baked ideas couched in a ballad. As the "Whistle Tune," closes the album with Fleck just wrangling his Celtic-styled banjo playing transcendentally with Coffin 's whistles and Wooten 's pared bassing atop a simple drum track, we are rooted once more into the basis of the Flecktones ' musical universes, not their metaverse.
It's not that complexity and a multiplicity of ideas is a bad thing; quite the opposite, but knowing when to reign them in and make the music sing is another thing. This record sings only in a couple of places. The rest is "serious Flecktones. It's easy to accept that, especially when those serious Flecktones fans will be debating individual musical passages until the next album is released. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully.
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