CD Show 'Em Where You Live (CD 211324),
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Show 'Em Where You Live
1. Cranial No. 1: Right Now
2. Mr. T.C.
3. Shagadelic Boogaloo
4. Cranial No. 2: The Jinx
5. Soul Principle
6. Our Man in Louisiana
7. Cat and Mouse
8. Cranial No. 3: Azul
9. Sideways Blues
10. Blackhawk, The
11. Cranial No. 4: Where We Live
12. Fire Still Burns, The (For Jimi)
13. Cranial No. 5: Awaken the Hoodoo
14. Cranial No. 6: Mata Hari
15. Gingerbread Boy
16. Cranial No. 7: Brake Failure
17. [Untitled Hidden Track]
Manufacturer Part Number (MPN): 4022
Robert M. Biles
Vital Information: Tom Coster (keyboards); Frank Gambale (guitar); Baron Browne (bass); Steve Smith (drums).
Recorded at Neverland Studio, Marin County, California on October 4-17, 1999.
This tenth recording from the now legendary quartet reminds listeners that, while smooth jazz often gets better press, there are still fans of honest to God inventive electric fusion who will eat up this type of powerfully rocking and energetic project. Bassist Baron Browne joined the core trio of Steve Smith (drums), Frank Gambale (guitar), and Tom Coster (keyboards) in 1998, and provides a rollicking bouncy energy throughout on tunes like the feisty Herbie Hancock ode "Soul Principle" and the '60s soul-jazz-flavored "Cat and Mouse" (featuring some of Coster's slyest Hammond B-3 lines). A few new changes include the addition of the Fender Rhodes to Coster's rack and more organic, exotic guitar sounds by Gambale. It's fun trying to identify the band's specific influences, and it's easy to pinpoint Booker T. (the swinging, ultra-hip "Shagadelic Boogaloo," one of the disc's catchiest, dare it be said, pop numbers) and Lee Morgan ("The Blackhawk," a soulful tribute to the San Francisco nightclub of the same name). They also specifically identify which tune is dedicated to the Jimi Hendrix Experience. Peppered in the midst of the stronger tunes here are seven experimental pieces called "Cranial No. 1," "No. 2," etc., with lengths varying from one to over seven minutes. These show off some spectacular playing, and certainly fans of these guys want to hear that. There's not much concern for any conventional melodies or rhythms, and if you're not up for the wacky jamming, you might find yourself slightly annoyed and clicking to the next track. Overall, it's good to see that fusion like this is still a vital presence in the jazz world. ~ Jonathan Widran
Down Beat (7/02, p.67) - 4 stars out of 5 - "...Excellent...focused on tunes while remaining a case study in musicianship and chops..."
JazzTimes (7-8/02, p.134) - "...hard-core instrumental sandblasting..."
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Tone Center 4022
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