Record Reviews

DEEP PURPLE ~ INFINITE EAR MUSIC 4029759118480 (Barcode: 4029759118480) ~ UK ~ Classic Rock Recorded: 2016 Released: 2017 This is the 20th studio album by the iconic British Rock group Deep PurpleFind albums by this artist, released four years after their previous studio album “Now What?!Find albums with this title” from 2013. It is also the fourth studio album by the Mk VIII lineup of the group: vocalist Ian GillanFind albums by this artist, American guitarist Steve MorseFind albums by this artist, keyboardist Don AireyFind albums by this artist, bassist Roger GloverFind albums by this artist and drummer Ian PaiceFind albums by this artist. It is the 2nd album by the group produced by Bob EzrinFind albums by this artist. The album presents ten songs, all co-written by the group members, except the final track, which is a cover of a song by The DoorsFind albums by this artist. The music is everything one would expect from Deep Purple: a highly dynamic Rock music, which offers melodic themes and classic Rock riffs, which are the group’s trademarks. The current lineup completely consolidated its ranks since 2002 and became a perfect Rock machine, which has but a few contenders despite the advanced age of its members. The sound returns to the organ drenched heavy sound that was the group’s trademark from its onset, Gillan’s charismatic vocals are still one of the most recognizable Rock symbols and the music still manages to grab the listeners by their hearts, so what else would one want? The cover of “Roundhouse Blues”, originally recorded by the Doors and released on the “Morrison HotelFind albums with this title” album, is the longest and to me the best tracks on the album, being a great reminder of how great Deep Purple are when covering classic songs by others. It perhaps hints to making of the 2021 album “Turning To CrimeFind albums with this title”, which is entirely dedicated to covers. Overall, this is another great album by a veteran band, which refuses to rest and still sounds better that any of the wimps that call themselves Rockers these days.

Updated: 05/08/2024Posted: 25/01/2022

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BOB GLUCK ~ INFINITE SPIRIT: REVISITING MUSIC OF THE MWANDISHI BAND FMR 398 (Barcode: 649849982254) ~ USA ~ Jazz Recorded: 2015 Released: 2016 This is a fascinating album by American pianist / composer / electronic music performer and composer / educator / writer and a former Rabbi Bob GluckFind albums by this artist, recorded in a quartet setting with trumpeter Eddie HendersonFind albums by this artist, bassist Christopher Dean SullivanFind albums by this artist and drummer Billy HartFind albums by this artist, which as the title suggests, revisits the music performed and recorded by the Herbie HancockFind albums by this artist sextet, often called the Mwandishi Band after the title of their seminal album "MwandishiFind albums with this title", the first of three albums the ensemble recorded, which includes also "CrossingsFind albums with this title" and "SextantFind albums with this title". Hancock formed this band in the early 1970s after he left the Miles DavisFind albums by this artist group, where he played for many years. Gluck wrote and published the book entitled "You´ll Know When You Get There: Herbie Hancock And The Mwandishi Band", where he analyzes the music and it´s hardly surprising he also created a musical facet of his fascination with this subject. By drafting two of the original members of the sextet: Henderson and Hart to take part in this project, Gluck is able to get as close to the source of this music as possible, without engaging Hancock himself of course. The album presents just five lengthy pieces, two of which were composed by Hancock, two others by Bennie MaupinFind albums by this artist (one features an introduction composed by Gluck) and just one is an original composition by Sullivan, which means that most of the music originates from the Mwandishi output. The overall modus operandi, i.e. openness, lengthy improvisations, minimalism and introspection, and above all an atmospheric approach to music creation, which of course is a much more European way of doing things, and finally the use of electronics (which on the original recordings was created by Patrick Gleason) lead to what Gluck obviously intended: a revisit of the Mwandishi music, but also a tribute to one of the most fascinating chapters of the American Jazz idiom, and sadly perhaps one of the last contributions to the genre originating on US soil. The music is of course everything one might hope for. Brilliantly performed by all four participants, it flows elegantly and yet also passionately from start to finish, leaving the listener wishing for more when the music is over. Despite their age Henderson and Hart are still very much the Masters they always were, Sullivan provides the anchor for the music with his steady pulsations, and his original composition fits the Mwandishi music ideally. Gluck´s piano and electronics create the frame which defines the melodic and harmonic structures and he wisely eschews imitating Hancock in any way, making his own statements. Overall this is an album which besides presenting some fascinating music has also an educational message and pays tribute to the glorious history of the Jazz idiom. Highly recommended!

Updated: 29/04/2016Posted: 29/04/2016

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KARIN KROG / JOHN SURMAN ~ INFINITE PATHS MEANTIME 23 (Barcode: 7041880102326) ~ NORWAY ~ Jazz Recorded: 2014 Released: 2015 This is the fourth album by the iconic Jazz duo comprising of Norwegian vocalist Karin KrogFind albums by this artist and British saxophonist John SurmanFind albums by this artist. John’s son Ben SurmanFind albums by this artist added some electronic effects and aural layers and made the live recording of a concert in Oslo, which was later mastered by the legendary sound engineer Jan Erik KongshaugFind albums by this artist. The album presents seven tracks, all original composition / improvisations by the duo. The music is absolutely stunning, moving between songs and improvisations and keeping a perfectly coherent musical atmosphere. The mixture of the Nordic climate and Surman’s highly ambient vistas, Krog’s idiosyncratic vocals and the electronically synthesized sounds works out perfectly, resulting in a wonderful flow of emotions, that is captivating and enchanting. Although highly improvised, the music maintains a highly melodic basis, which allows the listener to focus on the details without losing the thread and direction. In many respects this album revisits the early days of the Krog / Surman duo, which started some four decades earlier. Krog is definitely at her utmost best when improvising freely, which she does most of the time on this album. Overall, this is a brilliant example of the “Art of the Duo” idiom and one of the best albums in Krog’s long and impressive recorded legacy. Same goes for Surman of course, and his many fans will find him at his absolute top herein. European Jazz lovers should find this album absolutely essential piece of the puzzle!

Updated: 01/09/2021Posted: 01/09/2021

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