Word: sax
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...part, he is surfing the wave of the current American taste for jam-bands. But there are certainly jammier bands out there, even if Matthews was hawking his guitar-sax-violin combo back in the days when such a set up might be all it took to get you sandwiched between world music and jazz in musical limbo. Nor do his discerning ear and talented band seem to warrant the encomiums accorded him—there are far more talented bands going entirely unnoticed and most radio-listeners still don’t know who Jeff Buckley...
...Karl Denson’s Tiny Universe, who was the only event of the evening as far as some audience members (and the tapers up on the balcony) were concerned. Denson, who used to play sax with Lenny Kravitz but now fronts his own outfit, paced the stage like a panther, muscles bulging through his turtle-neck. Driven by the triple engine of his three percussionists, the energy was relentless, and Denson showed himself to be an impressive vocalist as well, barking and growling into the mic. Denson invited Franti and his MC Radio Active back to the stage...
Produced mainly by Aesop himself and relative unknown Blockhead, the music on Days is melancholy and evocative, featuring a host of exotic crate-dug samples—dusty sax, ancient Japan and eerie tango—sounding quite unlike the metallic future-funk that’s currently in vogue, though equally compelling. The sparse beats are surprisingly dynamic, often shifting directions to complement Aesop’s raps, which are lightning-fast, stoic and nearly incomprehensible. While none of this really breaks with the dogma of traditional hip-hop, Aesop Rock’s real brilliance lies...
...Another Day,” is an electronic fantasy on Santana’s “Guajira,” (though unattributed). “Soul Drive Sixth Avenue” digs a little deeper into funk territory as the keys croak with wah-wah and a baritone sax enters the mix. “People’s Party (Red Alert)” starts to layer the horns over a groovy, yet still camp bassline. One has to admire the talent of the Money man: Although he does recruit various friends on drums and suchlike (including Sean...
...Leiber?s parodies - "aural cartoons," Donald Clarke calls them - were also social criticism; they sounded black but could apply to alienated whites too. Stoller?s uptempo bluesy charts (usually 12-bar blues) found the ideal blend of honking sax solos by King Curtis and the singers, who had distinct comic personality: Gardner?s lead tenor in a vaudeville vibrato of fear and trembling, Bobby Guy?s smart-guy growl (a nastier version of the Ray Charles tout-voice), Dub Jones? mindshaft bass delivering the cool catchphrases (as parent: "You better leave my daughter alone" and "Don?t talk back...