April 01, 2010
If you’re looking to try new things, this band is here to deliver. It’s an old cliché, but I guarantee The OXtet will send your ears on a magical journey.
The OXtet is an 8-piece jazz/funk band, and almost all of the members are either Ithaca alumni or are currently enrolled at Ithaca College. Ithaca alum Josh Oxford leads the group. Josh plays the keys with such fervor unlike anything I have ever seen before—I got a chance to see them perform at The Haunt, and from watching the performance, it’s clear that Oxford is the maestro behind the insanity.
Their self-titled debut album is full of funk, personality and craziness. The band draws comparisons to Frank Zappa and the Mahavishnu Orchestra, the latter known for the complexity of its compositions, and Oxford seems to thrive on the chaotic sound. At the same time, many of the band’s tunes are quite catchy. Tracks such as “Bach,” and “Jagged Smooth” can get the crowd moving.
While their sound brings to mind jazz-fusion groups of the 70’s and 80’s, they are a group with a kind of originality that can only be found at the Whalen School of Music at Ithaca College. On iTunes, the genre is defined as “unclassifiable.”
Thus far, the band has played at various venues in the city of Ithaca, including The Nines, The Haunt and Castaways. Ithaca’s local music scene is a great environment for new musicians as many bands have found support in the local community. They are hoping to make it to cities such as Rochester, Boston, and New York City.
Recommended tracks: “Bach,” “Jagged Smooth”
March 24, 2010
Pianist Brad Mehldau is known for his unusual playing style. As my friend and WICB jazz DJ Lucas told me, his jerky movements and frequent jibberish create problems for piano technicians who must make sure Mehldau's voice doesn't penetrate the mic. His style is reminiscent of players like Keith Jarrett, yet his new record seems to be leaning more and more towards a new age of jazz.
On Highway Rider, Mehldau plays alongside great modern players like saxophonist Joshua Redman, bassist Larry Grenadier, and drummer Matt Chamberlain. Chamberlain is best known for his work with pianist Marco Benevento.
What makes this record even more unique is the string orchestra that bellows behind the musicians. Conducted by Dan Coleman, it adds yet another layer to the deep musical compositions of Brad Mehldau.
Hear it on Jazz Impressions, weekdays from 12-2, only on 91.7 FM.
Petey's Picks: "Don't Be Sad, "Capriccio," "Sky Turning Grey (For Elliot Smith)"
February 19, 2010
When one looks for the most genuine sound produced by a woman's voice, it's hard to ignore the raw feelings that permeate the vocals of Billie Holiday. In songs like "Gloomy Day," "Solitude," and "Summertime," it's far too easy to sink into Lady Day's paint-brushing tone. Nearly 75 years later, we are still admiring her beauty.
With the album "Billie Holiday: Remixed and Reimagined," we find an example of the evolving (and I claim progression) of modern styles meeting timeless elegance. With the broad definition, is there a place for electronic music in jazz? I say yes. As a musician, I understand the argument of performance in electronic versus jazz, but between the raw energy and the uniqueness of sound, there are many defining similarities as well.
So before you go outside and yell at the kids next door for playing non-sensical noise, realize that there were people who looked at Billie Holiday as just merely organized nonsense.
February 16, 2010
Mouths click and tongues clack to the melody of a nylon-string guitar on Lionel Loueke’s new album and second release off Blue Note Records, Mwaliko, which translates to “invitation.” Playing alongside original trio members Massimo Biolcati and Ferenc Nemeth, his new CD is a unique and spicy blend of African, jazz, and world music. Loueke speaks the language of Swahili, but through his music one hears the sounds of Africa along with familiar rhythms of modern jazz. It is this fusion of African roots and jazz that defines the art of his music.
Born and raised in Benin, a West African country nudged between Togo and Nigeria, Loueke grew up hearing the traditional sounds of his native land. He wouldn’t be exposed to artists like John Coltrane and Herbie Hancock until he traveled to Paris to study modern jazz. He was eventually awarded a scholarship to study at the well-established Berklee School of Music in Boston.
To call his style unconventional would oversimplify the origins of his music altogether. His mouth provides the vocals as well as the percussion. His African roots are submerged deep into his melodies, making them inseparable from his musical compositions.
The opening track “Ami O,” which features vocals by Loueke’s long-time friend Angelique Kidjo, recalls the image of Simba being held at the edge of the mountain during that infamous opening scene in The Lion King. The original song is an old West African anthem, a song Loueke and Kidjo sang together growing up in Benin. His CD also features two tracks from bassist and rising jazz musician Esperanza Spalding, who brings melodic tones of her own to the microphone.
If you’re thinking about buying the CD, or at least giving it a listen, prepare to be transported to the heart of the African savannah.