Ay Valeria!: Bringing the party

The Los Angeles area is a host to a wide variety of Latin groups and styles; however there is no group with a sound I like that of Makina Loca as far as I know. The sound, style and, format of the music is truly original (something very hard to find the LA area despite the large number of groups). Of the many albums they have put out I think my favorite of all the albums would have to Ay Valeria! This album features many of the bands strengths and has a special feeling that has influenced me much in deep way, much like The Lonesome Brothers and, Gypsy Wrangler’s have (I will get a review on them soon). Since this is truly original content, it has to be heard to understand completely, but I will do my best to describe its style in this review.

The style of Makina Loca is very hard to define and, at the same time clearly influenced by multiple musical traditions. Makina Loca borrows most heavily from African and Cuban musical traditions, though it also contains little bit Mexican and, American style as well. These styles are then fused together into one sound that it is all it’s own. This is the sort of music that has it’s own flavor of sound, which is hard to relate really to other works, much like the sound found in the album Purple Cha Cha Heels.

The instrumentation of Ay Valeria! is very much what you would expect to find in a group doing Cuban music. The band has multiple trombones, trumpets, a rhythm section, drummer, a (stellar) guitar player(s), a bassist, vocalist and, a piano player. What is really fascinating about the group is the use of these instruments, which created a wonderfully coherent sound. Each instrument is used to create this sound by the weaving of complex rhythmic hits to moving the music. This system gives every instrument an important part in creating the complexity of the piece and, at the same time makes the music sound clear and coherent. This use of instruments is far from how instruments are typically employed in Latin groups.

What really sets this apart from most Latin jazz is the style it employs. Most Latin Jazz emphasizes the soloist and, a single strong melody played by the horns, which backed up by a rhythm section, which create pulse and feel. Ay Valeria! emphasizes creating a song through the process of growth and development and complex interweaving of instruments. Ay Valeria! uses the entire range of the instruments in it to drive the melody and rhythm at the same time. Instruments play off each other in a variety of ways creating various mixtures of sound. Another note worthy element of the music is the variety of languages, used by the group’s leader Ricardo Lemvo and, the amusing singing style of John Robert in the song FikoFiko Ko. The music reminds me a lot of James Brown’s music because; many of the tracks are created through building grooves. There is also frequent use of call and response, with driving horn parts, which is also strangely enough, can also be found in Brown’s music. It is clear that even though there are solos, the music does not revolve around them like in most Jazz, but instead the sound of the group.

Minka Loca is a unique band with special sound, nowhere is this shown better then in Ay Veleria! This album shows off the bands unusual use of instrumentation and, ability to shape and develop its sounds. It is definitely different from most Latin albums, which is what makes it so worth having and, hearing. This album is one of my all time favorites and, is a most have album. It may be difficult to find especially outside of the Los Angeles, but it is certainly an album worth having.

The Music of King Kong

Max Steiner

This week I decided to put up a paper I wrote for my Music in Film course. I feel that it’s detailed analyse would be interesting to read and be a interesting change of pace from my usually music reviews so enjoy!:

Plot Summary:

Famous moviemaker Carl Denham is planning a trip by sea to a mysterious location and is in search of a woman willing to journey with him. To make things more mysterious, his ship is filled with guns and powerful gas bombs and he refuses to say anything about where he is going. While in his search he stumbles upon Ann Darrow, an out-of-work girl, and hires her to play his lead actress within his film. On ship (the Venture) Ann meets the first mate Jack Driscoll who at first is not pleased to have Ann aboard. Eventually, Denham reveals that he is traveling to an island off a sea map he bought from a captain in Singapore, an island where it is rumored the natives worship a gorilla god called Kong.

After going through a fog bank the ship spots the island and Driscoll, Denham and Darrow along with the crew go ashore. After searching awhile for natives, the group finds them preparing a ritual involving men dressed in gorilla-like clothing and a woman. Denham attempts to film the ceremony, but is spotted by the chief of the natives, who is angered that they have seen and ruined his ceremony. The Captain of Venture speaks with the natives and finds out they wish to trade for Ann, but the group refuses and promises to meet the natives the next day.

While aboard the ship Driscoll confesses his love for Ann, who is thrilled, but he is forced to leave her for a moment to speak to the Captain and Denham. During this time natives in an outrigger canoe sneak aboard and capture Ann, leaving only her necklace. After the cook realizes that someone has snuck aboard and later the crew realizes Ann has been captured, they rush to find her. Meanwhile on shore the natives prepare Ann to be sacrificed to the their god Kong. They use a gong to call forth Kong who ends up being a giant gorilla who takes Ann away just as the Venture’s crew appears at the gates. Denham and Driscoll form a search party to find Ann and while searching through the jungle stumble upon a giant stegosaurus, which they shoot. They then reach a swamp and build a raft to follow Kong through the swamp, however they are attack by an enormous plesiosaur and forced to flee. Many of the crew are killed by the monster while attempting to escape.

Driscoll and the most of the remaining crew encounter Kong while attempting to cross a chasm by using a tree trunk as a bridge. Driscoll finds cover but others in the crew are not as lucky and are shaken off the tree into a huge pit. Ann meanwhile is left on a tree trunk, still unconscious from shock. Kong then attempts to capture Driscoll, who is trapped under a ledge. However, Ann regain consciousness, only to find a hungry Tyrannosaurus who has spotted her. Ann begins to scream, which draws Kong back to her. Kong then battles the Tyrannosaurus, eventually killing the dinosaur, while Jack escapes and finds Denham. Denham agrees to return to the rest of the crew guarding the gate, while Driscoll follows Kong to his cave lair. Denham tells the rest of crew what has happened and they decide to spend the rest of the day on the island waiting for Jack. After battling a snake-like lizard monster, Kong brings Ann to a cliff side, where Driscoll successfully distracts Kong and attempts to rescue Ann. However Kong is not distracted for long enough and returns to find Driscoll attempting to escape by rope from the cliff. Kong tries to pull up the rope and Driscoll and Darrow, but they jump into the water below the cliff and escape Kong.

Driscoll and Darrow return to the gate where it’s revealed that Denham seeks to capture Kong, but Driscoll wants nothing to do with Denham’s plan. Kong however comes to them as he angrily searches for Ann and the crew closes the gate to keep him at bay. The natives rush to the crew’s aid. Though both the crew and natives press against the gate to keep Kong out, the gate eventually breaks apart and both the crew and natives flee. Some natives who attempt to stop Kong with spears or who fail to escape in time are killed as Kong destroys the village. Soon Kong makes his way to the boats where Denham throws a gas bomb, which eventually subdues Kong. Denham has the crew prepare to bring him to New York.

In New York Kong is exhibited in metal restraints as “the eighth wonder of the world,” along with Driscoll and Darrell, who are to be married. The press cameras’ flashes anger Kong, though, and he breaks free as the audience flees. Jack and Ann flee to hotel building where they hide, but Kong climbs up the building searching for Ann. After dropping another woman to her death while searching for Ann, Kong finds Ann and grabs her, stunning Jack. Then Kong rampages through the city and begins to climb the Empire State Building, while Denham and Driscoll along with the police form a plan to stop Kong. As Kong reaches the top of the building airplanes armed with guns are sent to lure the beast into dropping Ann. The plan is a success as Kong is lured by the planes and begins to die. In his last moments he picks up Ann one last time, and then puts her down as he is shot again. Soon after he falls to his doom, as Driscoll arrives at the top of the tower with Denham to get Ann. A cop in the crowd viewing the deceased Kong remarks, “Well, Denham, the airplanes got him,” to which Denham replies, “It wasn’t the airplanes. It was Beauty killed the beast.”

Music Cue 1
Cue Spotting: 00:05:46-00:06:06
Scene Description: This scene gives the Arabian proverb on which part of the plot’s premise is based. The proverb explains how the beauty of Anna Darrow (Fay Wray) enchants Kong and ultimately brings upon his final stand and demise.
Cue Type: underscore
Musical Theme(s): The first use of the Beauty theme appears within this scene.
How this music cue supports the scene: This short cue is used to increase the credibility and emotional impact of the proverb. The music has a slow, lush and passionate sound accentuated by the use of a middle register with strings (such as viola), harp, and brass (such as horns). This music is used to create an emotional connection to the proverb, which is turn is used to emphasize the emotional aspect of the plot. This cue is also used to bring down the intense energy found in the Kong theme of the opening credits and transition to the quiet beginnings of the film.

Music Cue 2
Cue Spotting: 00:24:53-00:26:21
Scene Description: The Venture travels through a fog bank and they search for land. This scene builds up the tension caused by both the danger of the trip and the crew’s mistrust of Denham. The scene ends as the crew begins to hear the beat of a faraway drum.
Cue Type: underscore and source (drums at end of the scene)
Musical Theme(s): none
How this music cue supports the scene: This is the first music after a long stint without any sort of real music. Steiner uses harp along with a small number of reeds and horn instruments to create a feeling of mystery and suspense. The music not only helps create the emotional atmosphere of the scene, but also reinforces the crew’s psychological distrust of Denham and his plans. It is hard to say for certain why this particular scene is the first to reintroduce music, however it could be that the music signifies the beginning of where the action is about to occur. The drums signal the end of this cue and transition into the next scene where the Island is discovered.

Music Cue 3
Cue Spotting: 00:30:27-00:31:58
Scene Description: The natives of the island dance and chant wearing ape skins and prepare a girl to be sacrificed (to become the bride) to Kong. Denham and his film crew observe the natives, and Denham seeks to film the event.
Cue Type: underscore and source (natives chanting and drums)
Musical Theme(s): Natives’ ritual
How this music cue supports the scene: After a long buildup of tension in previous scenes, the tension breaks into a loud and powerful conclusion. The scene uses strong, heavy sounds, including underscored brass and frantic strings, added to the onscreen use of percussive instruments and chanting from the natives. Steiner uses these instruments to create a sense of wonder, curiosity and tension by focusing the viewer’s attention upon the natives’ ritual. He uses the percussive instrumentation played by the natives to hit the action of the native footsteps during their dance. This cue’s beginning and ending are both very abrupt: the cue starts as Denham first spots the natives dancing, and ends when the chief of the natives in turn spots Denham, then yells to the rest of his tribe to alert them to the Denham and his crew’s presence, stopping the ritual and silencing the music.

Music Cue 4
Cue Spotting: 00:42:03-00:45:44
Scene Description: The natives prepare Ann and then tie her up so that she can be sacrificed to Kong.
Cue Type: underscore and source (native chant)
Musical Theme(s): The first use in the body of the film (not counting the opening credits) of the Kong theme
How this music cue supports the scene: The Kong theme is used at the beginning to foreshadow the arrival of Kong and at the same time to highlight the actions of the ritual and the distress of Ann. The music slows down dramatically at 00:43:09, with the strings then followed by the brass, in order to slow down the pace of the scene for the dramatic effect of building tension. At this point the music really begins to hit the action as it begins to focus on Ann directly and the journey to the ritual place where she is to be tied up. As the scene continues the music becomes more foreboding with a strong use of lower brass as Ann awaits her fate. As the gate begins to close, the music matches the closing with a descending passage, followed by even stronger and more foreboding music. The music ends with a dramatic crescendo and repeated passage whose tempo increases in intensity to match the scene, until the chief once again speaks, gradually silencing the natives and the music.

Music Cue 5
Cue Spotting: 00:53:37-01:02:08
Scene Description: To follow Kong through the swamp, the men searching for Ann, led by Driscoll and Denham, create a raft and begin to row across the lake. They are unaware however that within the swamps lies a man-eating plesiosaur who makes short work of the raft, attacking the men and forcing them to run for their life. The monster attacks and then chases the men into the jungle, where one ends up being cornered in a tree and eaten. The focus of the scene then shifts to Kong, then back and forth between the perspective of Kong and that of the crew. Then the crew encounters Kong while attempting to cross a fallen tree bridge and Kong shakes the tree, tossing the men into a pit below and killing all them all, save Driscoll, who climbs down a vine and hides in a crevice. After killing the men Kong attempts to grab Driscoll and has his finger cut by Driscoll. Driscoll then attempts to escape while Kong examines his finger, but a giant lizard climbs up Driscoll’s vine and so Driscoll is forced to cut it. Kong then continues to try to grab him until Ann is spotted by a hungry Tyrannosaurus, causing her to scream and for Kong to come to protect her.
Cue Type: underscore
Musical Theme(s): The monster attack theme is used in this scene for the second time and there is also a short reference to the jungle theme.
How this music cue supports the scene: The music begins with the transition from the jungle theme as they enter the swamp following Kong’s noises; the instrumentation begins with the woodwinds followed by strings, then harp and bassoon are added, giving it a mysterious and foreboding sound. The music begins hitting the action of the monster, specifically the raising and lowering its head in the water, and the harp follows the dumping of the crew from their raft. The music also hits the action by using an ascending musical scale for the man climbing up a tree and following the running footsteps of the crew. As the crew spots the monster and it prepares to attack the raft, the music becomes frantic and intense with an increased use of percussion and powerful brass. The feeling of intensity and panic in the music also increases dramatically when the plesiosaur gets closer to the crew and especially when it attacks a crewmember attempting to hide in a tree. As soon as the man on the tree is attacked the music momentarily vanishes and then returns, reflecting upon his demise. Then the focus of attention suddenly is placed on Kong and the music reinforces this change, to help the listener focus on the transition. The music and scene move back and forth between Kong and the crew’s prospective until the two themes end up colliding together as the crew and Kong meet up. The music once again becomes filled with a frantic and menacing sound as Kong shakes the tree, bringing about the demise of various crewmembers. Then the music becomes low and again hits the action as it mimics Kong’s attempt to grab Driscoll, with the use of a woodwind gliss as Driscoll cuts Kong’s finger. The music follows Jacks footsteps as he attempts to escape. The music once again crescendos and increases in intensity as Ann is approached by Tyrannosaurus; then the music for an instant pauses before the beginning of the fight. Then, after one last reprieve, it stops.

Music Cue 6
Cue Spotting: 01:07:49-01:09:19
Scene Description: Denham explains to the remaining crewmembers what has occurred. They likewise tell him that they have scared away the natives. Denham constructs a plan then about what to do next. Meanwhile Kong goes to his lair in the mountains, followed by Driscoll.
Cue Type: underscore
Musical Theme(s): The Kong theme is referenced when the Skipper talks about the natives.
How this music cue supports the scene: The music is dark, slow and plodding, using mostly low brass. This music’s main use is to defuse the actions and slow the pace down (after all the scenes of Kong fighting the T. Rex and killing men), so to allow for more exposition. The music is mostly background music used to set the somber mood of the scene. However, even in this scene there is a moment of hitting the action as the lighter woodwinds make refer to Driscoll as he follows Kong.

Music Cue 7
Cue Spotting: 01:18:51-01:24:12
Scene Description: Denham insists on capturing Kong while Driscoll is strongly against the idea. Kong comes, however, in search of Ann and for revenge upon Driscoll. The natives then rush to help push against the walls to prevent Kong for breaking in. This ultimately fails as he breaches the wall, causing panic. The natives attempt to fight off Kong, but to no avail, as he kills many. Kong then attempts to attack the crew and is subdued by a gas bomb.
Cue Type: Underscore
Musical Theme(s): A frantic string version of the Kong theme
How this music cue supports the scene: The music begins with footstep-like low brass, mimicking Kong’s approach, followed by a form of the Kong theme within the string section. The energy builds once again in the music as natives help push in order to stop Kong from breaching the gate. This mounts until the walls break down and the music reaches another peak. The score then mimics the fleeing people as they attempt to escape from Kong. Then the trumpets take on a fast sound, imitating running, while the low brass plays out a menacing theme symbolizing Kong. The music emphasizes the panic of the natives and the brutality with which Kong destroys their village and people. After Denham throws a gas bomb at Kong, the music slows as the trombones slowly ritardando and decrescendo as Kong loses consciousness.

Music Cue 8
Cue Spotting: 01:24:30-01:27:30
Scene Description: Denham brings Kong to New York to be viewed, where clueless theatergoers line up, not knowing what to expect. Denham, Driscoll and Darrow meet with the press behind the curtain and describe the journey to the island. Denham then goes on stage to make his speech about the adventure.
Cue Type: underscore
Musical Theme(s): Denham’s exhibit theme
How does this music cue support the scene: The music goes along with Denham’s show, first with a fanfare, then following with a busy city theme. These themes are triumphant and brass-heavy, as though the music were emanating from the theater (though no visible band is present).  The scene ends with ritardando and a closing statement that ends the music.

Music Cue 9
Cue Spotting: 01:30:26-01:32:29
Scene Description: Enraged by photographers, Kong breaks free from his chains and escapes the theater. The people in the theater panic and flee to get away from Kong, while Kong rampages through New York. Ann and Jack flee into a nearby hotel or apartment building as Kong begins to climb the hotel in search of Ann. After grabbing and examining a woman in the building and discovering she is not Ann, Kong drops the woman to her doom.
Cue Type: underscore
Musical Theme(s): The Kong theme is played in parts again and again.
How does this music cue support the scene: The music once again becomes menacing, as the Kong theme is played in various forms again and again in the low brass. The music slowly swells in dynamic volume, until Kong drops the woman, releasing tension. The scene ends with one last ominous trombone theme.

Music Cue 10
Cue Spotting: 01:37:25-01:43:03
Scene Description: After taking Ann and rampaging through the city, Kong makes his way to the Empire State Building, where he climbs to the top. Denham and Driscoll form a plan with the police chief to get Kong to let go of Ann and to shoot him down with planes. Jack rushes up to find out what is happening. The planes watch for a chance to shoot at Kong and then begin their attack as he puts down Ann, leaving himself open.
Cue Type: underscore and source (planes)
Musical Theme(s): Kong and Beauty themes
How does this music cue support the scene: The cue starts with Kong’s theme being played on low strings. Then brass crescendos as Kong climbs the building, while the strings signify the height of the building. Kong’s theme is used to give unity to the scene and emphasize Kong’s presence. As Kong reaches the top of the building, the music peaks with a blaring trumpet sound, then slows.

The music once again dies down, in a way similar to that of the scene of to Kong’s gassing on the island, perhaps foreshadowing Kong’s pending demise. Then there is a powerful silence during which the only sounds are those of the planes and the guns they fire; this silence is used to make this part of the scene more powerful. After this long period of silence comes a lamenting version of the Beauty theme, played by the strings, as Kong foresees his death, until machine guns cut in once again and Kong’s theme is played alongside the Beauty theme. The connection of these musical themes suggests a connection to the film’s overall “Beauty and the beast” theme (introduced in the beginning proverb of the film). The cue ends with Jack and Carl coming to find Ann, at which point only the Beauty theme remains. The lone Beauty theme accentuates the death of the beast theme, which in turn symbolizes Kong’s fall to his doom.

Conclusion (Significants of the music and elements of the score)

The score of King Kong uses similar cue functions, stylistic elements, and memorable themes over and over again throughout. These elements make King Kong one of the first films to be recognized as having a historically significant score. The film’s music uses a lot of memorable themes that both make the music catchy and at the same drive home the emotional intent of each scene. The score, like the film, is not subtle; it’s very loud and to the point. The music clearly goes along well with the film, and is kept relatively simple to match the simple plot of the film.

One of the first things that jumped out at me as I listened to this score is the instrumentation used. Steiner for instance likes to use the harp to convey mystery and foreboding; he uses this in many scenes, such as the fog scene and the beginning of the swamp scene, as the crew travel on a raft through the swamp. The most common instrumentation, which seems to show up time and time again, is used within the Kong or monster attack themes: powerful and menacing use of the low instruments (usually brass), often accompanied by frantic sounds of the terrified people fleeing within the higher brass, woodwinds and/or strings. This instrumentation first occurs when the natives sacrifice Ann to Kong, and recurs until the end of the film, even after the death of Kong. The last theme that jumps out is the Beauty theme, which is used both to tie in the theme of the film and to represent Ann. This theme is characterized by a lush and beautiful string sound, at the beginning to invoke the Arabian proverb and near the end of the film to tie in Ann and the film with the proverb. Another interesting thing about the themes in the film is how they sometimes come together. Some great examples of this are as the film switches between the view of the crew fleeing from the plesiosaur and Kong, until eventually the two collide and the themes come together. Another use of this duality in music comes in the scene with Kong and Ann atop the Empire State Building, during which both Kong’s (Beast) theme and Ann’s (Beauty) theme play, until Kong finally falls, after which only the Beauty theme is left, mirroring the proverb.

Steiner also uses certain elements within the cues frequently. Especially notable are the strong use of hitting the action, the combination of source music with underscoring, and the referencing of the mood of the scene and referencing to characters. Steiner hits action all over the place, throughout the film. His music loves to follow footsteps, whether those of natives dancing, Kong walking, crewmen tracking, or bystanders fleeing. He loves to use music to emphasize movement. Steiner also hits the action with the use of scale figures, such as when the natives close the gate after tying up Ann or when the plesiosaur moves its head out of the water. Steiner also likes to speed up and slow down the music to fit scenes, such as when the music slows down when Ann is led to be sacrificed to Kong, or when it speeds up as the villagers race to flee Kong, or later when Kong is slowly stunned by Denham’s gas bomb and the music slows. Steiner also tends to mix underscoring and source music; this occurs in many scenes of the natives’ rituals, where he combines their onscreen percussive instruments and chanting with the orchestra.

Throughout the film the most common use of music is to establish powerful mood. Some scenes that use music this way include the scene where Denham tells the remaining crew what occurred, during which the music is moody, or when Kong attacks, such as when Kong fights the monster to protect Ann or when he attacks the islanders, or later in New York City. There are few but important references to characters throughout the film, based on musical phrases. Such references include the use of the Kong theme when the Skipper mentions how he scares off the natives, the light woodwind flourish used when Driscoll follows Kong into his lair, and the recurring use of the Kong theme when he breaks free and climbs up the hotel (or apartment building). These elements within the music cues make this film unique and memorable and strongly affect the feel of film.

King Kong is one of the first films to have a memorable score that could demonstrate the power of original scoring. Despite perhaps sounding limited by modern standards, in 1933 this score was revolutionary. First, the entire score was done using original music, which was still relatively rare for the period, as most film music then was comprised of adaptations of popular or well-known tunes. The score of Kong captured the action of the film much more strongly than those of most films before it (especially ones that used adaptations). Steiner’s music was especially strong at hitting the action, whereas many previous films, such as The Jazz Singer, had music that mostly played through the action. Steiner also was one of the first composers to use specific themes throughout a score that connected with the both the characters and theme of the film. Steiner’s score was revolutionary because it was the first to use many major cue functions that previous didn’t feature in films, and when it was created it was the first musical score of its kind to have so much influence upon film scoring.

Thrust: a worthy sequel

Many people are familiar with Herbie Hancock’s famous album Head Hunter’s, few however few are familiar with many of the albums proceeding it. One of the best of these albums is the follow up to Head Hunter’s, Thrust. Although this album has many similarities to the Head Hunter’s, it has a number of differences that set it apart. At the same time Thrust still contains many of the elements that allowed Head Hunter’s to be an amazing album. This album is accomplished due to the fast that it is very similar in many good ways to Head Hunter’s, while at the same time being different enough to please the listener.

Thrust is a Jazz-fusion album that mixes Jazz with elements of Funk, to create a seamless blend of the two styles. The style of this album is very similar to that Hancock’s that of his previous album Head Hunter’s or Mile’s Davis’s Bitch’s Brew (which inspired Hancock strongly). This album can be counted as both as Jazz and Funk album due to the elements it borrows from both. At the same time it carries a unique sound style of later Hancock work’s, which set it apart from other fusion albums of it’s kind.

The instrumentation of Thrust as with Head Hunter’s sets Hancock’s albums is one big element that differs from most other fusion albums. To create his layered grove Hancock appoints roles to various instruments much like in Funk album. The bass line is typically played by Paul Jackson’s funky electric bass, the tasty percussionist Bill Summers and, the grooving drummer Mike Clark. The bass groove sets up the setting and, feel of the piece. The next level up is usually a series of harmonic hits, usually played by Bennie Maupin and/or Hancock. Then there is a melody that occurs most often at the beginning and ending of the piece, which consist once again of either Bennie Maupin and/or Herbie Hancock. Lastly there is a soloist parts played by Hancock or Maupin playing over this groove and, many times accompanied by the harmonic hits. It is clear that there is a lot of use of overdubbing to cover all the parts. There is also a wide variety of synthesizers (many of which were different from those in Head Hunter’s) and, keyboards used by Hancock as well as a number of various reeds played by Maupin. Without this complex system of layering it would be difficult to make sense of the various parts and get the same effect during the solo breaks.

This combination makes for a wild and, sometimes raw with mix of complex rhythms and ideas developed over a Funk groove. The groove lines are so strong that they can act on their own or, can underline a solo as background (Hancock does both frequently). They are so much a part of the songs that they many times are used in the melody and, that the entire piece relies upon them to function. In Thrust there is a much strong emphasize on form and, melody then there is in Head Hunter’s. The melody of Thrust is usually based upon the rhythm lines, with perhaps the exception of Butterfly. This both has the effect of organizing the piece a bit more for the listener and, at the same time reducing the wild nature of the music a bit. Hancock likes to use a lot more cosmic sounding like synth. to transition or as background in this album then in his previous works. Perhaps the most interesting element to this album is how solos are handled, solo breaks are (or at least feel) very extended and, solos are given time to develop as far as the soloist wishes for them to. At the same time the constant rhythm lines and the added in dubs all works support the power and, intensity. This has the effect of making the groove during the backgrounds just as important if not more important then the actual solos themselves and, makes the solo feel much more like group interaction.

This album I feel is every bit as good as Head Hunter’s and, has many features of it’s own merit. What sets this album apart really comes from it’s ability to mix elements of Jazz and Funk, taking layering approaches and, groves from Funk and, complex rhythm of and sound qualities from Jazz and, mix of chord changes from both genera’s. It would be hard for me to recommend this album more then Head Hunter’s, but it is clearly at the same level as Head Hunter’s. It surprises me that this album is so much less discussed about then Head Hunter’s. This is the type of album that you’ll love if you’re a big fan of groove Jazz or, Funk.

A trombone party: Purple Cha Cha Heels

The album Purple Cha Cha Heels by Brass Roots is a curious collection of songs with a Latin theme. Its music contains a neat flavor with a special blend of a variety of rhythm and soulful mixture creating a tasty mix of sound. Purple Cha Cha Heels employs many special techniques to create a rich sound despite it’s small and sparse instrumentation, it has a character and energy very much all it’s own. Although people may not of heard of Brass Roots (due to the fact that this seems like it’s only album) it is definitely worth your time to hear this group album.

It is hard to categorize this group into a single style, however it is clear what sorts of music’s influenced this group. One clear influence is definitely Latin music such as salsa, which can be found in the rhythms of many tracks. It is also clear by the use of call and response and, other rhythms there is a strong influence from Afro Cuban music upon the group. Brazilian like chord structure is also present in many of the tracks. All in all, the album seems to barrow a bit from almost every Latin jazz style to create a gumbo of sound and style.

The instrumentation for this album is for the most part simple and small, but are also used to there fullest to create the complex blend. The band’s foundation comes from the playing of the Ana Norgaard who plays a wide variety of percussive instruments that creates a strong feel and, gives the music a strong pulse. This pulse is the essential element to the music and, the foundation on which the album works as a whole. On top of that is a lower harmony from the second trombone Jim “Mondongo” Messbauer and Tim Meyer on the baritone sax part. These parts create strong sense beat and groove to the music, supporting the lead parts through the use of strong harmony. On the top of the sound is the lead trombone player Russel Jewell and sometimes the trumpet player Scott Aruda. These parts typically play either the melody or leading harmony, however these parts stand out less then a typically melodic part in this sort of music. Sometime Meyers plays flute, to add color instead of to the bass line. This mix up creates a brass-centered mixture driven by a rhythm and the flavor of the music more then really a single melody.

To make the best out of this blend the sound is layered, in a groove pattern to create a blend that allows for the most sound. Still even with this blend, at time the group will sound hollow due to the immense focus on brass groove lines and lack of instrumental variety. Occasionally the band will break a bit from this formula, but for the most part the band sticks to the layered groove approach for a majority of it’s tracks. These grooves are typically more on the simple, but pleasant side though occasionally there are some very difficult parts (especially in the Trombone parts). This is probably where the album is weakest; to create a nice mixture it loses some of it’s freedom of sound in return for it’s sound and, even with the blend it can only have so much variety of sound due to the small size of the group. On the other hand with the instruments it has it uses a nice variety of sounds and, song styles. Despite the lack of instrumentation and the sacrifices the band makes in freedom of sound, it makes up for somewhat with its variety of style.

The album Purple Cha Cha Heels uses an interesting concept to create a full sound with a small amount of similar instruments. Its strength also creates its weaknesses with a lack of free expression available due to its format. What is most impressive about this album however is its blend of various Latin styles. This is definitely worth picking up if you like Latin music and, if you can find it. It is very good and pleasant album, though it isn’t the best album and wouldn’t be my first pick for a Latin album, still it is definitely worth having if you can find it.

Interstellar Space: cosmic cool and Coltrane

Interstellar Space is a special brand of album, from the moment the first track starts it is clear that this is an unusual album both within style and instrumentation. The album is perhaps the greatest example of the versatility of John Coltrane and, is exemplary of the complexity of sound found within Coltrane’s works. However, even for Coltrane this album is very abstract and eccentric of sound. When I first listened to it I was shocked (in a good way) in what I heard and I was surprised that this album hasn’t received the attention many of Coltrane’s other great albums have received. Whether it is complexity of the sound, perhaps the abstract nature or just a lack of word of mouth that prevents the album from reaching a wide spread fame even among jazz listener, this doesn’t matter it still is a amazing and most hear album.

What really makes this album unique is it’s stylistic approach and the complexity of the music. The style of this album has an enormous effect on it’s sounds, because it is of the Free Jazz genera, determining that it will have loose and free sound. The music is shaped to have a clear beginning and ending, however the rest of the music has no clearly defined themes and relies on the expressiveness of Coltrane and the drummer Rashied Ali. The best way really to describe the style of this music is that it is a mix of the Free Jazz style employed in albums from musicians like Ornette Coleman, along with the sound of John Coltrane’s later period of music that is found in albums like A Love Supreme. This mixture really separates the album from even other Coltrane albums of it’s era.

The instrumentation within the album is a special blend of Tibetan bells, drums and Tenor sax. Usually the songs start with a introduction (and sometime ending) with the chiming of these bells, which have meditative sound and set up the mood for the songs. The primary role in the songs comes from Coltrane’s saxophone which sets the mood, however doesn’t seem to emphasize any sort of defined chord changes. Coltrane sax is pushed to it’s fullest degree of sound variety in this album, while still creating a clear form.Rashied Ali’s drum sound acts very differently from that of the typically drummer, although he keeps time and sets up the mood of the piece, his main purpose is to express the feelings in the piece. His drumming creates a powerful background and many times even acts like a horn player, helping to set the expression of the music and, allowing Coltrane the ability to take the music where he wants to. Without it’s unusual use of instruments, Interstellar Space would be unable to express it’s emotional and powerful sound so clearly.

The shaping of the music is incredible, even without the use of defined chords or a clear theme Coltrane is able pull the listener into the music. This is due to the complexity and sophistication of Coltrane’s improvisatory ability, which makes this concept of the album possible. In fact Coltrane is so expressive with this music that he can reference themes from other songs into certain piece. This is definitely music, however that requires the listeners entire and undivided attention due to it’s abstract and complex nature. This is one of Coltrane’s most complex and expressive albums I have ever heard and is definitely classic, at the level of other great Coltrane albums like Giant Steps and A Love Supreme.

Interstellar Space uses it’s unusual blend of instrument’s to create a eccentric and spiritual quality of sound, through the use of the Free Jazz medium. I’m still puzzled as to why I never heard of this album till I found it in my college library by pure chance. It is a truly amazing album and most hear for Coltrane or Free Jazz fans or just jazz fans in general. This may not the sort of music for someone who wants to hear high melodic music, however due to it’s quality it might be worth listening even for people who fit into this category. Even if your not typically aren’t a fan of Free Jazz or Coltrane I’d suggest listening to this album and giving it a chance, if you are fan buy this album now!

Moving Pictures: Herald of the 80’s

I have to admit much of the music of the 1980’s (especially within the mainstream) doesn’t appeal to me. Despite having these feelings I tried my best to push them aside when reviewing Rush’s album, Moving Pictures.  This I found this was hard to do in some cases, because the album helped to create so many trade marks of the 80’s rock music. I can say this album is certainly very different from many I listen to as well as interesting. I definitely have some things to say about this album that are very much opinionated, so forgive me if you disagree with my feeling, but I feel they are worth mentioning.

This album is a prime example of 1980’s Progressive rock, a unique style of rock with a sound so very different from what people typically think of as rock. This style of rock is not big and loud as much as it is rich, though it is many times loud, but not in the way rock like metal. It is the type of loud that isn’t aggressive or powerful instead full and complete of sound. This genera tries to express complex messages to the listener, many times with political messages. This is the sort of music that can either be looked at as insightful and poetic or overly cryptic and needless complex of theme. This genera music set the standard for many of the music of the 1980’s in style, many bands taking various elements of it’s style and incorporating it into their music.

This band has a very unusual sound due to not only it’s instrumentation, but it’s use of those instruments in a way that is 0different from the typically rock band.  The band uses the typical electric guitar, bass, voice, however the most important addition to the sound is the heavy use of synthesizer and the use of a variety of percussive instruments instead of the typically drum set. This instrumentation allows for the size and depth of the albums sound to be huge and rich. This set up gives the band a very electric and artificial sound, which depending on your preference is a good or bad thing (I personally prefer a more natural sound). The synthesizer at times feels really out of place within the songs texture, and I feel is not effective as another acoustic or wind instrument might be. The singer Geddy Lee has very distinct voice and again can be either be seen as a asset or as grating no the nerves, though in either case it is definitely befitting of the rich electric sound of the band. I feel this album has a very distinct and interesting pallet sound even if it is at times out place, however it is far to synthetic sounding many times for my taste.

This albums large sound has a strong effect on the style presented in Moving Pictures. Whether by design or out of necessity songs usually have simple structure, which is a nice contrast to the complex pallet of sounds. This simple structure also helps to avoid covering up the meaning of the words and in some cases supports the words. At times though the album can become overblown with it’s large sounds and deep lyrics, making the work seems to pompous and overblown. The solos especially suffer from this overly pompous feeling, especially within the song, “Limelight.” Another big problem is that I feel the quality of the songs aren’t not consistent in the album. “Tom Sawyer,” (the best on the album by far) “YYZ,” and, “Witch hunt,” were far superior to “Red Barchetta,” “The Camera Eye,” and, “Limelight”.  Their are many things that I liked stylistically in this album and just as many I could have done without.

This was an interesting album that experimented many new concepts some of which were worthwhile, others not so good. It’s style, messages and instrumentation sets it apart from other rock albums and definitely have had a deep impact on music. Whether that impact is a good one or not is largely up to the listener and a matter of opinion. This album is definitely the type of album you’ll either love or feel has some merits but, overall doesn’t appeal to you. I enjoyed listening to album despite it’s problems, however I doubt I’d buy this album if I didn’t already have a copy on hand. My advice with this one is maybe download a few of the tracks after listening to them, but not to buy the album as a whole.

John Lennon Anthology: Music of a dreamer

John Lennon is best remembered for his work with the Beatles, however after the Beatles broke up he created some of his most radical and interesting music. Of all the former Beatles, in my option Lennon has most to say through his post Beatles work. The John Lennon Anthology contains much of his post Beatles musical development and personal feelings. This collection follows Lennon’s solo career and at the same time gives incite into who John Lennon is through his remarkable music.

Lennon is the type of musicians that transcend the conventional terms of genera. Lennon’s music pulls from all sorts of genera including Rock; Folk, Jazz and, Blues music’s to create a unified single sound. Though the songs influences may differ from track to track, each song carries a consistency from Lennon’s presentation of the song. Though Lennon doesn’t fall into a typical song style, it is clear when you hear his music that it is his.

The instrumentation in this collection varies a great deal from track to track. Lennon moves between a variety of instruments leading including piano, other voices and electric, steel and, slide guitar. However even with electric instruments though it is clear Lennon prefers a natural sound and the instrumental lines are simple and very direct. This instrumental sound is not large or flashy, but a tool for Lennon’s vocals to express himself. Similar techniques are used by modern groups such as Lonesome Brother’s to express emotion. Though the focus of the album is Lennon, without the emotional expressiveness of his instrumentalists, Lennon would not be able to create his unique sound.

Lennon’s music is so incredible, because of the strong emotion and personal nature of his work. Every song has a strong message many expressing political messages such as “Give Peace a Chance,” and, “Working Class Hero.” Others express emotions within his life such as “Jealous Guy,” and “Real love.” Many of these mix both of these elements such as “Don’t Want to be Soldier,” and “Imagine.” What I like about Lennon is he doesn’t water down his words and many of his songs are contain not only his glorious side, but also his dark moments with songs like, “God,” “How Do You Sleep,” “Luck of the Irish,” and “Woman Is The Nigger Of The World.” Lennon’s music has a genuine quality giving you an impression of all his good as well as well as more negative feelings about life and is not afraid to criticize himself in his music.

John Lennon is truly an amazing music not just in his ability to create music, but also in his ability to express himself through music and find others that help him share his visions of the world. John Lennon’s music represents himself as a human being; though much of it is dark all of it is written at the highest quality and gets your attention. This collection is a breath taking set that is definitely a most have. If you haven’t listened to this collection, do yourself a favor and pick it up.

Gangster swing: Mugzy’s Move

In recent years there has been a strong resurgence of swing mixed with more modernistic material. Some of these approaches include the mixing of Dixieland with swing taken by the Jack Sheldon Big Band, a more modern jazz push of groups such as The Big Phat Band and, most noticeably a movement known as, “Swing Revival.” The first band that publicized this movement was The Royal Crown Revue. This groups approach to swing is very different take then even many other Swing Revivalist groups like Big Bad Voodoo Daddy and The Cherry Poppin’ Daddies. After to listening to few of the group’s albums, I decided to comment about Mugzy’s Move because it not only characterizes the Revue, but also is their best work (in my opinion).

Two-Thirds music of Mugzy’s Move is without question in the Swing Revival style. The Revue mixes its swing with other genera’s just as many other Swing Revivalist bands, however unlike most other revivalist bands it mixes the swing with rockabilly and jump blues music. Their music swings to a strong rock pulse to create a unique blend of styles. The other third of the music is a mix of somewhat more classical swing, bebop and even contains a crooner tune. This consistency mixed along with the large of variety of the albums creates a good mix of genera’s while staying true to it’s own special style.

The Royal Crown Revue’s instrumentation and style is really what sets them apart from other swing bands. Even from the first track it is clear that the band employs a vocal style that sounds like the vocals belong to Warner Bros 1930’s gangster film set to music. This works surprisingly well with most of the pieces and adds to the vibe of the music. The instrumentation in this album is nothing like your typical swing band; instead of a big band there are only four horns on the album (two saxes, one trumpet). Another element that gives this band their unusual sound is the lack of piano within the rhythm section and instead the inclusion of a guitar. These elements within the voicing of The Royal Crown Revue music create a need for a new style to accompany the voicing.

This set up is used to create a very different style of swing then other bands used before the Swing Revival era for swing. The Revue’s line up is designed for lots motion within swing and focuses upon the gangster vocals. To do this most of the horn lines either emphasize the melody or are powerful punches. Beyond the drummer Daniel Glass who pushes the grove forward and Eddie Nicholas the singer, the instrumentalist themselves don’t really on their own stand out much. This is because of a lack of really difficult independent lines or memorable solos that express beyond the theme of the music. As a group however, the sound meshes and works together to create a mood for the Nicholas’s vocals. Without the driving horn backgrounds the whole mood of the pieces would be lost, despite Nicholas’s charm, make the few musicians still very important to the group. Although the horns do play an important role in the group, it is the functionality of the drummer and vocals that are the key to piece’s quality.

The selection of material here is done with a lot of care, their is a nice mix of both original, rearranged and old works. Some works like “Zip Gun Bop” and, “Hey Pachuco!” are created by the band members and feature powerful hits, vocals, and drum work. Others are classic covers of songs  “I love the life I live,” “Beyond the Sea,” and, “Topy.” These classics take on new character with the jazz licks added to them in the horns, while “Barflies at the Beach,” does the opposite by barrowing the instrumental sections from “Sing, Sing, Sing,” and adding new lyrics to the song.  What all the songs have in common is a signature style of the Revue.

Mugzy’s Move is the best example of Royal Crown Revue album I heard before. It’s driving beat, special instrumentation and style sets it apart from other swing groups. Though it may not be the most complex music even of it’s type, it is an exciting, and well-crafted album. If you like rockin’ swing or 1930’s gangster movies then this definitely the album for you. If not then this album is definitely worth a listen, you may find something hep’.

Metallica: something different

Usually I don’t like the modern rock music especially in the genera of Metal, however the group Metallica is a big exception I have to this feeling. This group is unlike other groups of its kind in many important respects that are worth noting, thus I thought it would be interesting to take a look at. The albums …And Justice For all and Ride the Lightning are both very similar in feel and style, as well a good representation of the style and qualities employed within the group. For this reason I feel reviewing both of them would be a good idea and at the same time be an extra holiday bonus.

Metillica as the name suggests is definitely is Metal, however it is also a classic example of a specialized genera of metal, known as “Thrash Metal.” (It’s not quiet as cheesy as you might think by the name) These albums are clear examples of this genera’s typical themes; the lyrics with subject matter revolving around dark elements such as loneliness, death, suicide and, other elements of this sort of nature. This set up is designed to make the listeners feel better about their own condition sort of like that of a blues, occasionally these themes get so extreme that they can be overly depressing, but this is the expectation not the rule. The styles of the albums instrumentation are also very much similar to other Thrash Metal bands (more on this later) giving the music an aggressive, intense and dark feeling. Overall the tones of these albums are serious and dark, however it is…And Justice for All is by far the creepy of the two with more political themed works and a higher level of realism.

The first and most important element of Metallica’s music one notices is the group’s use of the guitar as a percussive instrument. The combined use of low range of the guitar and rhythmic focus of the music creates a driving and fast quality. Other common qualities include the use tri-tone and diminished interval, and rhythm played in a fast-syncopated style along with a heavy use of the bass the drum. Solos are many times in high register and to use a variety of scales or in some cases no scale at all. Solos range for very additive such as in “Frayed ends of sanity,” to un-necessary such as in “…And Justice for All.” Solos in the album are best when they are either contrasting with the rhythmic body of the piece or when they themselves are a growth off from the rhythmic playing. The showy solos by the group seem typically separated from the work and in the way of the actual song, this problem is less apparent in Ride the Lightning as it is in …And Justice for All, but exists in both albums. Overall the style of this group has interesting elements within their instrumentation, which set them apart from other rock groups usually in good ways.

What set’s these albums apart from other groups albums, however is the stylistic elements of Thrash Metal and their own style they employ. These elements separate them from the typical rock group and create interesting tracks. The most important of these elements is the constant changing of tempo and style within the music, something found within almost all of the Metallica’s songs. The way the group does this is usually by an instrumental introduction to the new tempo, and then the vocals come in the new style. Another interesting element is some of the introductory guitar solos and in case of “One” the main theme, these are very lyrical and seem almost like classical lute like phrases. These phrases create an interesting contrast between the main themes of the piece and the introduction. Another element of contrast that is interesting to hear is the movement from harmonic passages to melodic passages and vice versa. These elements of style show a maturity and sophistication that many current Rock bands lack.

Metallica’s sound is such that it can attract those normally disinterested in Rock or who are interested in Ave Grande. The groups dark themes, driving percussive guitar sound, and unique styles either grab the listener’s interest or can them turn off. …And Justice for All is definitely the darker and more political of the two albums, Ride the Lightning is far subtler with its messages. Overall Ride the Lightning has on average bit better overall quality per song, but certain tracks on …And Justice for All like “One,” and “Harvester of Sorrow,” are definitely the best works of the two albums. Metallica is definitely at least worth a listen before a decision is made about them. Try listening few of the group’s songs before deciding whether or you like the group or not.

The wolf of music: Wolf Rain OST 1

Yoko Kanno is a amazing musician, not only is she a amazing piano player, but she is also responsible for creating music for around twenty six anime series as well as countless other video games, movies and non-series based projects. Many Americans know her best for her work breath taking and unique arrangements that were written for the series Cowboy bebop, however I feel one of her most amazing project is far to often ignored, which is the sound track to Wolfs Rain. This series has largely been overlooked by Americans ever since it’s release date on Adult Swim in 2004, which is a shame due to the great quality of this soundtrack. As usually can be expect with Kanno be ready to a be surprised by what she does in the album. Once again Kanno create a new and wonderful sound in her music that is unlike anyone else, at the same time it carries some of her signature style even while staying original.

Once again Kanno’s music takes on a wide variety of styles and sounds making it hard to pigeon whole her music into a traditional category of music beyond that of soundtrack album (which really doesn’t say anything about the musical style). Her music on this album is clearly influenced by the classical, folk, jazz, Brazilian, world music and blues music genera’s, which appear throughout many of her songs. The album beside the basic feeling of Kanno’s music has, bares little resemblance to many of her other works such as Cowboy Bebop. However much like Cowboy Bebop, it has a very original and one of a kind qualities similar to groups like the LONESOME BROTHERS with every song being in a different character. This music doesn’t even really sound like it belongs to a sound track and, easily could stand on it’s own. However, it adds a lot to the sense of emotions and the plot conveyed within the WOLF RAIN anime which it was created.

Every instrument and voice in this album is carefully set up for special musical effect. One thing I find outstanding is the way things are put together to create a mixture of instruments and styles. Songs can range from a single voice and guitar, to an elaborate orchestra’s with voice and piano added and, all while making best use out of the instrumentation. A perfect example of this mixing of styles is “Gravity,”  which adds strings, trombones and French horns in classical and symphonic style to a ballad like style of the voice and piano, and then even for a short period adding in pop voices overlay within the track creating a rich layering. In the previous song “Run, wolf run,” their is a moving classical guitar (which is very different sort of classical then orchestrally), choir and vocal solo in ballad like way, then their is also Latin percussion and a lamenting clarinet and low flute. This is only one of the many examples of contrast within style and voicing within the album, and yet it all fits strangely together despite the contrast. This work is effective because of this ability to express a wide variety of emotions, despite the amount original character within the pieces. It remains original while keeping melodic and ave garde, all without becoming overly abstract and, difficult to listen. This work makes sure it doesn’t leave the listener attention while being filled with a amazing complexity. This make the album both pleasing to the casual listener and to those that listen closely to the music for this reason.

Despite being original and featuring Kanno’s style this album doesn’t take as much risks or experiment as much as some of Kanno’s other works such as COWBOY BEBOP. This is a good thing for the album though because of the vast instrumentation and styles of influence it takes from. The album is clearly rooted in a more folk and classical direction then her other works, with full symphony orchestral work, as well as more use of acoustic guitar and world percussion. Even with her ability to find unique and creative ways to voice instruments, it is clear that with such large groups ofinstruments that their is a need to craft music more carefully and plan it out much more delicately. In this album Kanno’s makes up for this by showing off her ability to craft beautiful melodies, epic ballads. Is an album capable of creating to symphonic soundtrack for a adventure show created for television based on such a unusual subject matter. The theme of the show including, Wolves and the rebirth show up often in the album making it fit with the shows theme, while at the same time not feeling contrived or added as a after thought. It is impossible toconceive that anyone else  other then Kanno, who be capable of such a well craft album while still capturing the essence of the work it is based off of.

Kanno absorbs elements seemingly from everywhere and in this album once again reinvents sound, creating a totally new styles of work. Their isn’t much I can really say about this album other then this, because it’s the type of album that is hard to describe to someone who hasn’t heard it already. This album istruly a masterpiece and one of the best anime and overall soundtracks of all time out. It is truly as good as any of her other albums for though for totally different reasons. You may not be attached the genera’s in this album as much as her other works and not like it as much, but it is clear that just much time and care went into this album as her other work and is of the same quality. The only warning I can give on this album is that it suddenly switches styles, which can sometime be a littledisorienting and the variety of styles may not appeal to some. However the changing of styles is also what makes this album work and is all for the better in my opinion. This is truly a great album and picking it up or ordering it is worth doing as long as you are a fan of variety of genera’s or Kanno’s other works.