- CD de audio (8 de octubre de 2010)
- Imported ed. edición
- Número de discos: 1
- Formato: Audiolibro, CD
- Sello: Bhm Productions
- ASIN: B003VT0FQG
- Disponible también en: CD de audio
- Clasificación en los más vendidos de Amazon: nº272.516 en Música (Ver el Top 100 en Música)
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Fruit From The Loom Audiolibro, CD
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Descripción del producto
World renowned drummer Billy Cobham is best known for his powerful and complex style and as a founder member of the Mahavishnu Orchestra he exerted a strong influence on the course of jazz and jazz-fusion in the 1970s. His latest CD, Fruit from the Loom, mixes distinctive new compositions inspired by travels around the globe with exuberant new arrangements of his signature tunes, Spectrum and Crosswinds. Joining Billy are some very special guests, all of whom have worked with him before in a variety of musical contexts: Ernie Watts (saxophones), Guy Barker (trumpet), Brian Auger (organ), Dean Brown (guitars), Victor Bailey (bass) and Dave Samuels (vibraphone & marimba). Also on board are long time associates Jean-Marie Ecay (guitar), Christophe Cravero (keyboards and violin), Stefan Rudemacher (bass), Wilbert Junior Gill (Steel Pan and PanKat), Marco Lobo (percussion) plus, on specific tracks, a string quartet and percussion ensemble.
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That being said, as a drummer this album speaks to me. Cobham's playing has matured into a smooth tasteful and flowing feel that is flawless in execution. The Steel Pan accompaniment give a rhythmic yet peaceful feel.
Cobham's playing on this album is heavily influenced by Brazilian, Latin and Caribbean music-using many Samba inspired grooves crossed with other Latin feels. On the opening track "Cat In The Hat" he shifts between Samba and Tumba feels on the bass drum while effortlessly accenting complex patterns between hi hat and snare. This all leads up to an amazingly clean and stylish samba-based drum solo.
The Crosswind remake is by far my least favorite track on this album, but still has some great solos by all players.
After Crosswind is Brazilian-inspired ballad called Eggshells Still On My Head which is one of my favorite tracks on the album. It's not fully a Bossa, but does have the feel melodically and somewhat rhythmically. It is truly a beautiful melody.
Then we have Spectrum, which is a far better remake than Crosswind is, taking on it's own character and pulls great performances by all the players involved. But I'm still not sure it was necessary to include these two remade tracks. I think I would have rather just heard two more new ones, since the new material on here is much better than the remakes.
Then "Florianapolis" which could be described almost as Caribbean-Samba, or Island-Samba-Love this track. Rhythms are fantastic and playing from every member of the band is top-notch. Billy plays an awesome Samba beat in this song using his kick drum as the Surdo anchor and flows around the rest of the kit smoothly with style. There's also another incredible drum solo in this song that continues in the Samba feel.
Another one of my favorite tracks is Clitter-Clatter, the closing track. This one takes yet another direction with the violin giving it almost an Americana feel. The melody is beautiful and stays in your head for a long time.
This album really showcases what an amazing composer Billy Cobham is. He takes complex arangements and weaves them together with beautiful melody and highly advanced World rhythms to make is own unique style of Jazz. I would suggest listening to it several times in a row at first to really let the arrangements sink in. They are so complex it takes a while to really understand some of them.
The only aspect of this album that I don't really like is the production, or rather it's somewhat of a double-edge sword It is recorded very dry with no room ambiance at all which makes it sound almost dull and lifeless from a recording point of view. This could also be the main factor in making it sound like "elevator music" to some. However from a musician point of view it makes it easy to hear all of the intricacies of the playing of each musician. So for somebody who appreciates musicianship, it does provide an accurate means of study because of it's dry and clean sound.
Overall it's an excellent album and will be remembered as such as time passes. Highly recommended.
Do I like my jazz a little edgier? Sure. Is there some filler here? Perhaps. The addition of steel drums could have easily allowed it to veer into that "lite jazz" sound, but it never does, and never to the point where you want to turn it off. It's laid back stuff but pretty good laid back stuff at that. And there are some good uptempo tunes as well, where Billy shows off his formidable chops. Check out the samples here. You might like this one after all, folks.