September 17, 2010

Even before The Electric Sounds of Johnny Arrow made it's breakout debut, the Brooklyn based musician had already built up some serious cred playing along side Sharon Jones and the Dap Kings, Budos Band, Amy Winehouse, The Roots, Paul Simon; and was even featured in the Broadway musical Fela! After the initial listen, there's no denying why Cochemea Gastelum is in high demand throughout the New York City Scene when you hear him on Bari, Tenor, and the Electric Sax. As a front man, Gastelum boasts his influences on his sleeves, and the band faithfully and tightly follows.

The most impressive aspect of this album is the James Brown like tightness of the horn section, as heard on “Dark City”, “Arrow's Theme”, and “No Goodbyes”. All together, the rhythm section, with vicious horn shouts and Gastelum on top blasting short and sweet solos, come together to authentically revive and combine Fela Kuti's afrobeat with the gritty 70's soul-jazz era into a brand new groove that will keep you on the dancefloor.

Of course if you're too tired to dance, there are always ballads like “You're So Good To Me” and the closer,“Stars”. Both are choice cuts that are sure to mellow you out after a hard day's work or on a drive through town. No matter the reason for listening, The Electric Sounds of Johnny Arrow has got you covered on all fronts.

Recommended Tracks: “Dark City”, “You're So Good To Me”, “Impala '73”

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.