Word: jazze
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Dates: during 1990-1999
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...clear what inspires Peck's musical eclecticism, and how he imagines it to all hold together. Adding a polished studio saxophone wail to a folk guitar song does nothing but bewilder the listener, as does a tune like "Strange Weather," with its hip jazz shimmy that sounds like it belongs on Sting's last album. Add in a trumpet solo (as Peck does on many tunes), a walking bass and sampled strings, and you have a very curious tune. It has the same value as the likes of buster Pointdexter or Thomas Dolby, minus the better arrangements, interesting voices...
...slowly become profound and moving. One of the reasons lies in the Sugargliders' ability--the rarest thing in the world--to integrate melodic neatness with the aforementioned back-beats. "Reinventing Penicillin," for example, could be a good slowed-down New Order song, and "Trumpet Play" nonchalantly imports a soft "jazz" trumpet and jazz-club background noise into the end of what would otherwise be a rolling, groove-oriented late-night "ballad...
...these interlocking acoustic guitar tones and undulating beats moves in, and stays for weeks. Whichever Meadows brother is singing-- or half-singing, half-speaking--sets our the lyrics with such understated sincerity that it's impossible to believe the everyday events he's describing--walking out of a jazz club ("Trumpet Play"), reading a newspaper advertisement ("Theme from Boxville")--don't move and amuse him as much as he says they do. Which may lead you to wonder why such everyday events don't move, or amuse, you as often as they...
...arrived at Prescott street to find Guy waiting for us. He was engrossed in the seating chart he had just constructed, busy connecting names and faces. Guy's music is not written out according to instrument; instead, he writes parts for individual musicians in his own outfit, The London Jazz Composers' Orchestra. So every member of the Harvard Jazz Band was given a part previously written for some musician thousands of miles away; I was Peter...
...that young talented jazz guitarists record so much bad music? The answer is that they are simply perpetuating a great and longstanding tradition. Ever since Wes Montgomery, jazz guitar greats have recorded pop and soul tunes, often in search of crossover success. Inevitably the results are ugly, as with Grant Green, and sometimes they are disastrous, as with George Benson. The latest releases of two young guitar virtuosos catch this fate, Stanley Jordan's new Bolero, and Mark Whitfield's '93 self-titled release. Both musicians began their recording careers with very impressive debuts that drew strong commercial responses...