Jacaranda is an instrumental album that rides the journey from acoustic gentleness to flat out rock and all that is in between. Trevor Rabin as artist, composer, guitarist, pianist, musician, producer-engineer, South African son and father plus dog owner all weave into this amazing work.
This has been a delight to listen to... a kaleidoscope of soundscapes, beautiful audio stories, a revelation of Rabin's musical artistry and creativity. It is a true mash up of styles that made me think of everything Rabin has done. Stylistically I thought of Steve Morse and the Dixie Dregs to Phil Keaggy, Michael Hedges and even some of Al Di Meola's world music. There are strong glimpses of 'Yes' and progressive sections like 'Sludge' from Rabin's Can't Look Away.
As a critic I am impressed with Jacaranda's depth and the maturity Rabin displays as composer, musician and producer. It's stunning to say the least - no hesitation of 5 stars for Rabin fans. I think many Phil Keaggy fans and guitarists would also rate this highly. The difficulty is that this is not a rock, fusion or jazz album. The average listener may only think this a three star album as it has too much guitar, whereas a rock guitarist would say there is not enough. It is an eclectic modern instrumental work where Rabin's experience as a film composer shines through and classical and jazz influences are as strong as any rock thematics.
My ears pricked up with the intensity and strong melody of 'Market road', easily my favorite track with Vinnie Colaiuta supporting on drums. Again on 'Through the tunnel' we have Vinnie with Rabin at their aggressive best. The thunderous bass on this track sounds like Chris Squire sat in on the session but this is Rabin showing his musical prowess. Yet Rabin's is not out to prove himself or win fans. Rather it's an album of beauty and reflection. As I said it appears as a soundscape to Rabin's life story as borne out with the fascinating liner notes. Six of the tracks are directly linked to stories of his early life in South Africa although strangely there is no overt musical link as what was heard on 'Sorrow' on his previous solo album.
The link to Rabin's current world of filmscore is the moving 'Rescue' with Liz Constantine's vocal which as Rabin describes in the liner notes is "pretty special".
'Me and my boy' with Ryan Rabin on drums is a stirring rocker with a mesmerizing start but alas is much too short. This is my only criticism of this album. I think two longer tracks in the vein of 'Through the tunnel' would have perhaps made it cohesively a rock fusion album plus I'd have loved a more conventional rock ballad instrumental to have been included as there is certainly space for this on the rather short 43 minute album.
The production and recording is exemplary. You would expect no less. This is easily Rabin's best recording from a sound perspective. (Admittedly technology has moved on since 1995 and the stunningly well-recorded Talk). Listen to 'Zoo lake' for the richest of recordings with the Bugbass upright providing the bottom end with a glorious lazy sunday afternoon melody and the most traditional melodic electric solo on the album. Then continue to the final track 'Gazania' that embraces everything from various electrics, gut string, banjo and acoustic piano with moods shifting and slipping bringing different instruments and delicious guitar tones into focus. Amazing. And then it's over. I sincerely hope it is not another decade before the next one.
Treat yourself, the journey listening to this is richly rewarding.
I heard Eric Marienthal play live in Auckland in September 2009. I was expecting to hear a professional, experienced saxophonist - what I heard was so much more. His playing was both articulate and fluid with a range that I couldn't quite believe for an alto sax...and moreover what a humble, personable musician. Backed by the Rodger Fox big band
, the evening was my big musical surprise of the year. Riveting big band charts - I think at least two from the Gordon Goodwin's Big Phat Band
. An amazing evening and exemplary display of sax mastery.
What's this got to do with a review of Crossroads some 20 years before? Well quite honestly for many years I had dismissed Eric Marienthal as the smooth jazz influence that had weakened Chick's Elektric Band
offerings. The disastrous "Light years" album was such a disappointment after their debut album that I gave up on Chick for a while.
The first inklings that I had that Eric was far more than the musician on many commercial smooth jazz recordings was when first watching him on the Chick Corea Elektric Band Live in Montreux 2004 DVD
. Wow, no soprano noodling at all but hard bebop lines to support the tracks 'C.T.A', 'Got a match', 'Spain' and 'Blue Miles'. This time it was the noodling of Gambale's guitar that seemed to interfere and Eric was masterful.
So there is a dilemma - who is the real Eric? I like to think after hearing Eric live that it's when he is playing live that the real Eric is heard. Yes, he always has a sweet tone, but live he rips it up and is adventurous. On the 20th anniversary of 'Crossroads' I can happily say that this album still sounds fresh and impeccably well-recorded...and that Eric blows away the cobwebs of most of his other solo albums. Why then does this studio album sound live? Simply because the musos played it live in front of each other when recording and the spontaneity shines though.
It does help that the best musicians in the world were there to play along with Eric. What an incredible lineup. John Patitucci is producer and the bassist through out. This is a drummers album of note - as has been pointed out by other reviewers; if you are partial to flat-out fusion drumming - then try and get a copy of 'Crossroads'
. Terri Lyne Carrington is monstrous on the first track and plays like I'd imagine Weckl might have on a good day! Six of the ten tracks are played by the drum master Vinnie Colaiuta
, who gets many opportunities to play out and even solo. Weckl plays on a track and Terri closes out. Keyboardists are the prolific Russell Ferrante and Chick Corea on three tracks. With three Ferrante compositions and one from Chick himself, no wonder this sounds like a mixture of an aggressive Yellowjackets and Elektric band album.
Yes, there are ballads and some pretty melodies but all eventually romping away to inventive, exciting compositions with wonderful playing by all. If you haven't heard Eric hit the high notes, the big notes and the adventurous lines, then this is the album to get.
Finally I have my own copy of this DVD and I was pleasantly surprised that this historic performance at the intimate Ronnie Scotts easily beats their amazing concert in Auckland. (I saw Jeff Beck (Link to excellent video on Drummerworld which shows an excerpt from this DVD), Vinnie Colaiuta , Tal Wilkenfeld and Dave Sancious rip through one of the most amazing one and half hours of spell-binding music when they played in Auckland at the end of their Australasian tour (3 February 2009). They pretty much covered all the songs on the Ronnie Scott set list although omitting `Space Boogie' and including I think a Tony Williams "Lifetime" track, that Tal seemed to lead.) Yet the DVD is even better because of three reasons:
- The DVD allows you so close that you can see every action of Beck's playing (which even with binoculars I couldn't quite see at the concert)
- There is greater variety in this concert in comparison with their tour as here there is the addition of soulful singing of guest artists. Joss Stone with 'People get ready', Imogen Heap with 'Blanket' and the driving 'Rollin'and Tumblin'' which provides opportunity for Becko to show his support and bluesy side.
- This DVD records the historic magic of two blues songs sung and played by Eric Clapton and Becko...with Jimmy Page watching in the audience. Wow!
If you have only heard Jeff Beck then a live performance or this DVD, is a must. I had never seen Jeff Beck play before so was astounded to watch his unique style of brushing the strings with his thumb, caressing the whammy and combined with volume swells producing those tones that only he can do. As you'll see, he doesn't use a pick at all.
This is unique in that as far as I am aware this is the first full DVD concert of the drumming maestro, Vinnie Colaiuta (other than specialized Drumming festival DVDs). This intense rock fusion catalogue of Beck's is brilliant with its varied time signatures from reggae to poly-rhythm frenzy to showcase Vinnie's talents - but always within the context of the song and the music. Next to the diminutive figure of Jeff and Tal, Vinnie is a tall man and his enthusiasm, smiles and outright mastery capture and add to all the Richard Bailey, Simon Phillips and Terry Bozzio fills that we know from albums like `Blow by Blow', `Wired', 'Guitar shop' and the rest of the Beck catalogue. To hear Vinnie live is great - watching is an overwhelming marvel.
My only criticism of this DVD is that in the first few songs including 'Stratus', the camera work misses most of Vinnie's great fills. This is most frustrating and often the camera panned onto a watching Jeff or the face of a smiling Tal while missing sublime drumming. Fortunately this concert has a enough opportunity to see Vinnie at other times but generally the small venue meant that there are never great views of the drum kit. Fortunately this does not apply to the clear camera work on Jeff's fretboard.
Seeing the young Tal on bass melodically groove with these musos all at least 30 years older than her is a salute to the longevity of the music that we have come to know as rock fusion. There is a sense of togetherness and fun as they all interact and watch each other. Jason Rebello is literally out of the picture for the first quarter of the concert but later takes a more prominent role and takes a number of great solos.
As usual Eagle Vision have exemplary production qualities and the sound, 5.1 and DTS, is magnificent.
Jeff, doesn't speak much other than to thank guest artists and the audience at the end. He just plays his heart out. Hammering, tapping, wrenching and bending strings, Jeff shows how far he has explored where his contemporaries of that generation have never ventured. This best value DVD is an historic showcase that salutes the master guitarist in top form still playing as if there are no tomorrows.
