Author: Ted Asregadoo (Page 2 of 2)

Herbie Hancock: The Imagine Project


RIYL: Santana’s Shaman and Supernatural, Anoushka  Shankar’s Breathing Underwater,  WOMAD label artists

On the surface, one might conclude that Herbie Hancock’s current release, The Imaging Project, is a Johnny-come-lately effort that builds on the model Carlos Santana rode to great success on Supernatural and Shaman.  That is to say, call in a diverse group of popular artists and have them record songs that infuse their styles with the dominant musical character of bandleader. Hancock and company certainly attempt that, but Mr. Hancock has grander designs other than just creating a hit record.  The Imagine Project is, according to Hancock, part of a global outreach strategy featuring musicians from various corners of the world to foster a kind of globalization that emphasizes mutual respect rather than a top-down cultural dominance emanating from U.S. to the rest of the world.  Does Hancock succeed in his ambitions?  At times he does, but at other times the record sounds like bland smooth jazz that never rises above level of innocuous background music for worker bees in office buildings.

The most interesting tracks (and ones that reach Hancock’s ambitions on this album) are tucked in the middle and end of the CD.  “The Song Goes On” featuring Chaka Khan and Wayne Shorter – and some blistering sitar playing by Anoushka Shankar – demonstrates what I think Hancock had in mind for this album (the same goes for “Tempo De Amor,” “La Tierra,” and “Tamatant Tilay/Exodus”). Alas, there are some real duds that take away from the potential grandness of the project.  “Tomorrow Never Knows” featuring Dave Matthews is as pointless of a cover as it is boring. “Imagine” gets bogged down in pomposity and relegates Jeff Beck to playing a solo that could have been done by any good musician with about a year’s worth of guitar lessons.  And only Pink saves “Don’t Give Up” from becoming a milquetoast cover of the Peter Gabriel/Kate Bush original.

The Imagine Project is not a horrible record by any stretch, but it continually falls short on both fusing various musical styles and finding new wine from the old wineskins of classic songs. However, when it shines (as it does at times), the music does transcend geographic boarders to create a fusion that lives up to Hancock’s stated goal for this record.  (Hancock Records 2010)

Herbie Hancock’s website
Click to buy The Imagine Project from Amazon

The Gaslight Anthem: American Slang


RIYL: The Clash, Bruce Springsteen, Green Day

For a band that’s been recording for five years, the Gaslight Anthem sounds amazingly seasoned on their second full release, American Slang.  The beauty of this album is hearing a band in transition.  They’ve always been rooted in a kind of Clash-like punkish pop, and Brian Fallon’s love of Bruce Springsteen has been evident since their nascence.  If you like the game of “Name That Influence” you’ll certainly hear both the Clash and Springsteen in American Slang, but the band is more than that.  The first three songs on the album just blaze as wonderful anthems, but songs like “Diamond Church Street Choir” show the band stretching out with musical choices that alternate the tempo with a kind of soulful and breezy verse and a soaring chorus. It’s flourishes like that (and the intro to “Boxer”) that illustrate that this band is maturing leaps and bounds ahead of their peers.

American Slang is tight – clocking in at under 35 minutes – and the songs vary just enough that the album never sounds like the band are a bunch of Johnny One Notes.  Often with the pre-release hype of new albums from the “New hot thing” it’s more sizzle than steak, but with American Slang, the Gaslight Anthem has crafted a substantial collection of songs that will be among the best albums of 2010. (SideOneDummy 2010)

Gaslight Anthem MySpace Page
Click to buy American Slang from Amazon

Bibi Tanga and the Selenites: Dunya


RIYL: Massive Attack, Curtis Mayfield, James Brown

Red flags go up whenever musical artists describe their music as having “no rules” – as Bibi Tanga does on his MySpace page. Tanga must know there are rules when recording music. If there weren’t, he would certainly have produced an anarchic stew of disparate noises like Lou Reed’s Metal Machine Music. No, Tanga is a much more structured musician than that, and he and his sidekick (Professeur Inlassable – “Professor Tireless”) have put together a record that has “world traveler” stamped all over it – and having it on National Geographic’s record label reinforces that fact.

Dunya is trippy, funky, lyrics are sung in English, French, and Sango (the native language of the Central African Republic where Tanga’s family comes from), and there are loops the Professor weaves into the mix that give the songs modern flourishes. In short, Dunya isn’t only a mixture of funk, African rhythms, jazz and hip-hop, it’s also an album that takes us into space age chants about the moon – a recurring theme throughout the album.

One of strongest tracks is “Gospel Singers,” which starts off with a dissonant toy xylophone loop coupled with a kind of “Ah-Ah-Ah” sound reminiscent of the “Friday the 13th” opening title sequence. But all that dissonance gives way to Tanga’s high pitched, yet soulful vocals and some Sarah McLachlan-esque co-vocals that round out the song in a harmonious and passionate way.

Curiously, the least imaginative song on the album is the lead single “Red Wine” – with its laconic rhythm and equally listless vocal delivery that makes for a poor introduction to Tanga’s music. Songs that really show Tanga in top form are the ultra-funky “Swing Swing” and “Shine” – both channeling a kind of James Brown/Prince vibe. Also, I thought “Bonjour Monsieur Jean” was a gem with its neo-jazz/trip-hop pastiche of Parisian sounds nicely reflecting the years Tanga spent growing up in France.

Overall, Dunya is an album that will take a few listens to really “get” what Tanga is doing with the musical influences that have inspired him. Knowing that he was the son of a Central African Republic diplomat who lived in a number of countries, and he grew up on the steady diet of funk, new wave, hip-hop, indigenous African sounds and jazz, will give you an insight into where he’s trying to take the listener. He doesn’t always succeed in his endeavors at bringing parts of the world to the listener’s ear, but when he does, it’s as sublime as a full moon rising in the evening sky. (National Geographic 2010)

Bibi Tanga MySpace page_Click to Buy Dunya from Amazon

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