Synergy

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Drummer Dave Weckl gained such a cultlike following playing with Chick Corea's Elektric and Akoustic bands in the 1980s that he could probably release an album of solo wood-block tapping and have it sell enough copies to make the effort worthwhile. So it's a pleasant surprise that Synergy is a decidedly group effort that thrusts the varied compositional talents and versatility of Weckl and his bandmates to the forefront instead of merely showcasing the leader's drum chops. Not that Weckl has been letting those chops sag; his solo percussion odyssey "Cultural Concurrence" and his ferocious soloing over the Latin groove of the title track are enough to give air drummers everywhere a workout. But what makes Synergy more listenable than some of Weckl's other efforts is the inspired group interplay that finds him and his longtime touring ensemble--saxophonist Brandon Fields, keyboardist Jay Oliver, guitarist Buzz Feiten, and bassist Tommy Kennedy--locking in on grooves that push beyond his normal jazz-fusion terrain. From the West African feel of "High Life" to the Cajun-tinged "Swamp Thing" to the swanky James Brown funk of "Wet Skin," Synergy is an inspired and varied outing. --Ezra Gale

From Jazziz
After being dismissed by some as a mere "chops meister," former Chick Corea Elektric Band drummer Dave Weckl purposely sought to reinvent himself as a groove player on his previous solo outing, Rhythm of the Soul, which also marked the debut of his own band. While the group toured, soundcheck jams evolved into tunes, and the resulting music on Synergy provides

the most balanced document yet of weckl's drumming and his strongest musical statement.

Tracks such as "Panda's Dream," which features some of the fattest backbeats Weckl has ever played, and the New Orleans-inspired "Swamp Thing" are strong on pure groove. But tunes such as the African-influenced "High Life," the salsa/funk-informed "Synergy," and the solo drum/percussion tour de force "Cultural Concurrence" bear all the syncopated complexity of Weckl's original fame. He also displays a subdued, sensitive side with brushes and coloristic cymbals on the ballads "A Simple Prayer" and "Where's My Paradise?" A particularly definitive track is "Tower '99," a rewrite of "Tower of Inspiration" from Weckl's first solo album, Master Plan. It has all the technical mastery of the original but a deeper groove and a lot of soul.

On Weckl's four previous solo albums, he and Jay Oliver keyboardist composed just about everything. But on Synergy, the songwriting credits are shared among Weckl, Oliver, guitarist Buzz Feiten (a major asset to this band), saxophonist Brandon Fields, and bassist Tom Kennedy. The result is Weckl's broadest level of self-expression.

Tracks:

One Day at a Time (3:40)
Never Is a Long Time (3:25)
Just Always (5:05)
Special Friends (2:42)
Coming Home (3:31)
Song of Hope (4:21)
Child of the Universe (3:00)
Mountains (3:59)
Answer (2:38)
Dawn of a New Day (2:55)
Let the Bells Ring (6:52)

Album Description

On November 8, 2005, Nashville-based Music Mill Entertainment will re-issue the three full-length projects recorded by rock pioneers, Glass Harp. Simultaneously released will be Glass Harp (1970), Synergy (1971) and It Makes Me Glad (1972) - all out-of-print for more than three decades.

Lewis Merenstein, who won a Grammy® for his work on Van Morrison's Moondance (also produced Spencer Davis Group, John Cale, Gladys Knight, others), originally produced all three sets by the progressive-rock trio. Recorded at Jimi Hendrix's Electric Lady Studios, the newly re-mastered volumes now contain bonus material of previously unreleased songs.

Glass Harp is known as much for its extended live jams and improvisations as for being the vehicle that gave rise to Contemporary Christian guitarist, singer and icon Phil Keaggy. Keaggy joined the band while still in high school and helped propel it from local to regional status and beyond. At its peak, Glass Harp toured with The Kinks (at Madison Square Garden), Iron Butterfly, Yes, Traffic, Humble Pie, Alice Cooper, Grand Funk Railroad, Ted Nugent and Chicago.

Phil Keaggy left Glass Harp in 1972 just after the release of It Makes Me Glad. The following year, after a brief stint with another influential Christian group Love Song, he recorded his first solo album, What a Day. Since then, Keaggy has released dozens of albums earning popular acclaim for his guitar virtuosity, songwriting and Beatle-esque vocal flavor. He also spent much of the `70's and `80's recording and performing with myriad Contemporary Christian artists while, in effect, helping to build the very healthy CCM genre.

Bassist Daniel Pecchio later co-founded the Cleveland rock outfit the Michael Stanley Band. The group enjoyed a ravenous local following and a reputation as a great live band. The pop charts also boasted several AOR/pop singles from the band in the early 1980's.

Drummer John Sferra worked as a solo artist and has sometimes performed as a member of Keaggy's band.

Tracks:

High Life
Panda's Dream
Swunk
A Simple Prayer
Cape Fear
Wet Skin
Synergy
Where's My Paradise?
Lucky Seven
Swamp Thing
Cultural Concurrence
Tower '99

Amazon.com

Drummer Dave Weckl gained such a cultlike following playing with Chick Corea's Elektric and Akoustic bands in the 1980s that he could probably release an album of solo wood-block tapping and have it sell enough copies to make the effort worthwhile. So it's a pleasant surprise that Synergy is a decidedly group effort that thrusts the varied compositional talents and versatility of Weckl and his bandmates to the forefront instead of merely showcasing the leader's drum chops. Not that Weckl has been letting those chops sag; his solo percussion odyssey "Cultural Concurrence" and his ferocious soloing over the Latin groove of the title track are enough to give air drummers everywhere a workout. But what makes Synergy more listenable than some of Weckl's other efforts is the inspired group interplay that finds him and his longtime touring ensemble--saxophonist Brandon Fields, keyboardist Jay Oliver, guitarist Buzz Feiten, and bassist Tommy Kennedy--locking in on grooves that push beyond his normal jazz-fusion terrain. From the West African feel of "High Life" to the Cajun-tinged "Swamp Thing" to the swanky James Brown funk of "Wet Skin," Synergy is an inspired and varied outing. --Ezra Gale

Customer Reviews:

The octopuss.......2005-02-14

Dave Weckl is an amazing musician, this is clearly stated in this great album, his drumm-driven compositions are enjoyable even to those who dont really care about the drummer. Great playing all around and a very fun recording, i keep comming back to this one.

Mr. Weckl shows he's a composer and a musician.......2004-03-18

By far, this is my favorite of The Dave Weckl Band. Yes, his previous releases really were a whole bunch of flying sticks bashing out ridiculously perfect rhythms. But this album shows true musicianship and very nice composition. I think this is the one that turned peoples' heads and made them realize that Dave Weckl is far more than just a master percussionist.

And for the one that thinks there was an "infringement"...synergy is a word...you can't trademark a word and think that suddenly that word can't be used.
From Webster's dictionary:
Synergy -
1. The interaction of two or more agents or forces so that their combined effect is greater than the sum of their individual effects.
2. Cooperative interaction among groups, especially among the acquired subsidiaries or merged parts of a corporation, that creates an enhanced combined effect.

If you look at those two descriptions, both describe the music on this album to a "t".

Awesome drummer.......2003-03-26

Dave is the best drummer in the world hands down. To the reviewer who thinks anybody cares about trademarks and basing their decision of buying a CD on that....get a life buddy!

more drum mastery.......2000-10-07

I much prefer acoustic jazz to electric; but being a drummer, I buy ever new Dave Weckl CD that comes out. The guy is just so smooth it's ridiclous. Although every aspect of his drumming is nearly flawless, his combo tom/splash fills are just the best. Additionally, Buzz Feiten plays some great guitar solos on this record, particularly track 2. Unfortunately, he won't be on the new release. Jay Oliver has left the band too. Personally, I love over-the-top drums, and could listen to Dave's earlier solo-fest recordings all day. That is why this recording and the first Weckl Band release were a little disappointing to me at first. I wasn't expecting so much in the pocket playing from Dave. They grow on you though. All of the songs are inventive and well crafted. After repeated listening, you become more and more in awe of what the best of the best can do. Can't wait for his new one. Check out the live mp3s downloadable from Dave's website. They will blow your head off!

The Dave Weckl Band: Synergy.......2000-02-04

This is the follow-up CD to Rhythm of Soul and they picked up right where they left off. Another musical masterpiece by drummer/band leader Dave Weckl. Synergy is full of tight grooves, musical solos, and creative musicality from all of the band members. This CD is filled with many musical styles to fit everybody's taste.

Average customer rating:

Lyric sheet not included. . .and still no guitars

Sequencer
Synergy
Manufacturer: Voiceprint UK
ProductGroup: Music
Binding: Audio CD

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Electronic Realizations for Rock Orchestra
Cords
Games
Audion
Reconstructed Artifacts

ASIN: B000167XW6
Release Date: 2004-02-16

Tracks:

S-Scape
Chateau
Cybersports
Classical Gas Paradox:
A. Largo, New World Symphony
B. Icarus
Sequence 14
Sequence 14 [Original 1975 Demo]

Product Description

1. S-scape
2. Chateau
3. Cyber-sports
4. Classical Gas
5. Paradox
a. Largo, New World Symphony
b. Icarus
6. Sequence 14

Format: CD

Customer Reviews:

Lyric sheet not included. . .and still no guitars.......2005-12-04

After the promise of Electronic Realizations for Rock Orchestra the previous year, one would think that Sequencer would have been a comparatively impressive work. Unfortunately, this album is gravely disappointing compared to the first album. S-Scape, the first track, ends as soon as it starts to get good. Other tracks, like the wonderful Chateau and the cool Cybersports, are good short pieces but offer only a taste of the Synergy heard in ER. It just strikes me that Larry Fast may have been a bit short on material (or energy) at the time he created this album as the majority of the pieces on it are either covers of others' works or tone sequences. Only once the last track (Sequence) 17 gets going do you begin to hear the Synergy character that you wanted to hear more of when you bought the album.

Now don't get me wrong--there are tracks in here that are definitely worth listening to. It's not a bad album, but this is not the best that Synergy has to offer.

Average customer rating:

1970's classic: a message in music
. . .and nobody played guitar
Among the best of 70s electronic music
Essential electronic release
Orchestrated Compositions Realized on Electronics

Electronic Realizations For Rock Orchestra
Synergy
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000612K
Release Date: 1998-03-31

Tracks:

Legacy
Slaughter On Tenth Avenue
Synergy
Relay Breakdown
Warriors

Amazon.com

This disc, originally from '75, doesn't have much to do with rock or orchestra, but it sure does have a lot of electronics--mostly of the faux renaissance variety so popular in the heyday of progressive rock. Electronic Realizations' most notable track is "Slaughter on Tenth Avenue," a hilarious attempt to make this stuff sound arch. The next wave of kitsch, guaranteed. --Keven McAlester

Album Description

Electronic Realizations For Rock Orchestra was the debut album from Synergy and was seen as a huge step forward for synthesizers in rock music when it was first released in 1975 and received not only critical acclaim but also positive commercial acclaim also. This re issue has been re mastered for this release and contain sleeve notes by Larry Fast and will be the first in a series of re issues that will see the entire Synergy back catalogue re issued over the next twelve months.

Customer Reviews:

1970's classic: a message in music.......2006-03-30

Mark B's review is spot on. So many miss the point with this music -- the important word in "rock orchestra" isn't rock. Larry Fast is a composer for orchestra. Okay, in this case it's a (one-man) orchestra of electronics but there's no better way to understand the music here. All the classical forms are here and the interplay of "instruments" is very much orchestral music. Yes, the analog sound is dated but so is the sound of a lot of music and that doesn't make it bad, well, not to my ears anyway.

On this album Larry Fast was a man with something to say and he says it extremely well through his music. Truly a classic piece of electronic music in any era. And stands up well with modern era classical composers as well.

If you want to know something of the history of modern music and especially the electronic genre then this is a "must have".

. . .and nobody played guitar.......2005-12-04

Dave Marsh, the editor of the Rolling Stone Record Guide, referred to this album (and the rest of Synergy's works at the time) as "Truly pompous anti-rock BS".

Well, I'll step up right here to say that it is neither pompous, anti-rock, nor BS. It is actually a symphonic-type work for Moog synthesizers with a 70's Progressive Rock feel. Larry Fast shows himself as a first rate composer with this work, with a expert use of counterpoint. With only the analog instruments available to him at the time, this album must have taken Fast many months to compose, record, and mix. The sound is very LARGE, with textures ranging from lush to explosive to somber. There is one memorable point in the track "Synergy" where two lines of music dance around a single Minimoog tone which ascends from the bottom through the top ranges of the instrument. It is absolutely breathtaking to listen to.

There is really nothing out there to compare it to. It is a bit like Walter Carlos' realizations of Bach's works, but these pieces are original compositions (except for Slaughter on Tenth Avenue). It's never boring--there is not a weak point in it from beginning to end.

I must admit, I have a soft spot in my heart for Electronic Realizations because it is actually the first CD I ever bought (in 1987). That doesn't stop it from being a great album though. After all these years it is still one of my favorites. If you are a fan of Electronic, Progressive, or even Classical Music, I think you may enjoy this album and recognize it for the masterpiece it is.

Among the best of 70s electronic music.......2005-01-01

Like many of the reviewers here, I first "discovered" Synergy in the mid-70s when his music was still new. As an avid listener of both classical music and progressive rock, I enjoyed his blend of classical construction with rock's sense of transition and rhythm.

I still enjoy this album over a quarter of a century later. It remains both musical and moving; there are numerous moments that are quite heartfelt, like in the ending to Slaughter on Tenth Avenue, the way Warriors presses its second theme, and the almost perfect transition (one of the Great Ones, in fact) in Legacy at about the 6:20 mark.

Though Larry Fast had his moments on subsequent Synergy albums, Electronic Realizations remains my favorite and in consistently the most listenable. I rate it alongside Vangelis's Heaven and Hell and Jean Michel Jarre's Equinoxe as my favorites in the genre (I would place Klaus Schulz, Michael Hoenig, Tangerine Dream, et. al. in a more abstract grouping, as they tend to be less melody-oriented).

If you're looking to explore this branch of music, this album is a great place to start. It won't appeal to everyone, but to those who bother to listen, it offers numerous rewards.

Essential electronic release.......2004-01-01

Synergy is actually one man : Larry Fast, well known of Pete Gab's fans. Larry is a true genius in his realm, and his talent deserves to be recognized. ERfRO is his first effort and also his best. This record features five magic tracks, constructed on the same pattern as symphonic pieces, hence the name of the album. There are no drum machines, just various synths creating an ambient music à la Tangerine Dream or Robert Fripp (see my review of Robert's Blessing of tears). All in all, this is a fabulous record, one of the best of its category (i.e. electronic and ambient music), but unfortunately Synergy's following records don't have the same quality. Nonetheless, I recommend it to all synth lovers.

Orchestrated Compositions Realized on Electronics.......2003-03-25

The title of this album, criticized by some, is accurate. This is music realized by a "rock" orchestra. What else to call the battery of electronics that Larry Fast used to bring his compositions to life? A trained composer, an electrical whiz, Fast combined his fine musical sense with the potential of Synthesizers to create new orchestral timbres. No one else in the field of electronic, now or then, has done the same, with the exception of Wendy Carlos, Fast's friend and cohort.

Most people doing electronics fall into the throbbing gristle of sequencers, forgetting that music is more than rythym or effects. Fast's compositions are modern music, and could probably be played by organic instruments and sound good. Most Prog doesn't hold up not because it's Prog, but because the composition and orchestration are not up to standard, unlike Fast's music.

People who listen to this album and think its trance or ambient, are actually getting neo-romantic compositions orchestrated with new sounds. That's what electronic music was supposed to be about. Ah, well. Ah, me. Electronic Realizations still sounds good because Fast knew how to orchestrate, not because analog synths sounded better. (if you ever tried to play a 1972 Minimoog and keep it tuned, you know what I mean.)

Tracks:

Legacy
Slaughter on Tenth Avenue
Classical Gas [1975 Version]
Synergy
Relay Breakdown
Warriors

Album Details

This Re-issue Has Been Remastered and is the First in a Series that Will Make their Entire Back Cataloge Available. Includes Different Bonus Tracks to the Us Version.

Customer Reviews:

Pre-Digital Electronic Music.......2006-08-24

I have the original lp of this album(it came in clear vinyl) which was recorded in SQ quadrophonic sound! The early U.S. release on CD doesn't even come close. I only wish it could be remastered using SACD or Dolby Surround like some of todays CD's or even DVD Audio. But, even on CD this is one of the best early electronic music masterpeices!

A very sophisticated recording of electronic music.......2006-06-20

This 1975 album is, in my estimation, nearly singular in the world of electronic music due to its sheer complexity. In fact, this album by American electronic composer Larry Fast is much closer to progressive rock than Berlin School electronica for example - there is just a lot going on in each of these compositions.

The six tracks on the album range in length from 2'58" to 12'50" and feature a range of tones and dynamic contrasts. Another interesting aspect of the music, and I never expected to discuss this in a review of an electronic composition, is the abundant use of melodies, harmonies, and most importantly both rhythmic and melodic counterpoint. In fact, it is amazing what Larry achieved with just the use of a mini-moog, an Oberheim Polyphonic, and a Mellotron 400. In fact, it makes me wonder what it would have sounded like if he had scored these complicated synthesizer pieces for rock instruments, including a full drum kit.

Interestingly, Larry's link with prog rock is not as tenuous as one might think with his being an electronic composer and he struck up a good working relationship with the prog band Nektar around this time. His excellent work can be heard on Nektar's Recycled album (1975).

This remastered album features restored cover art and excellent sound quality, along with some skimpy liner notes.

This album is very highly recommended to those electronica fans who want something a little more varied than the typical fare. Also recommended are two albums by Isao Tomita including Snowflakes are Dancing (1974) and The Tomita Planets (1976).

Average customer rating:

Musical Massag: Synergy

Musical Massage: Synergy
Joseph Nagler
Manufacturer: Relaxation
ProductGroup: Music
Binding: Audio CD

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Musical Massage: Resonance
Musical Massage: In Tune

ASIN: B00004NRY4
Release Date: 2000-02-22

Tracks:

Sapphire
Turquoise
Lapis
Aqua Marine

Amazon.com

Synergy begins in the cosmos à la Jonn Serrie, but after traversing reflective and inspired small-ensemble territory ends in accessible, grooved-out smooth-jazz territory. The theme of synergy appears throughout the disc as keyboardist Joseph Nagler locks into various ambient, New Age moods with fellow musicians Miri Chung (violin), Victor Magnani (guitars), and Billy Gags (flutes and sax). "Sapphire" is reminiscent of some of Michael Hoppe's work, and the bending guitar on "Turquoise" recalls Steve Roach's Midnight Moon. The real highlight is the fine, crisp percussion and string playing of Miri Chung on "Lapis." This is the most accessible, pleasant, and perhaps least challenging album of the Relaxation Company's Musical Massage series, but that doesn't necessarily mean that it's not one of the best. --Karen K. Hugg

Customer Reviews:

Musical Massag: Synergy.......2000-06-18

I am a Massage Therapist and have recently found this cd. What grounding music, it touches the soul and brings a balance to the body. All my clients have loved it, and all have asked what are you playing. It has a variety of sounds that please the mind, body and spirit. Perfect for massage or any time you would want to relax. I thank Joseph Nagler for put such beautiful music together and naming it Musical Massage.

Average customer rating:

My second favorite Synergy album
Stands Up After 30 Years
melodic depth
A return, of sorts, to the beginnings.

Cords
Synergy
Manufacturer: Voiceprint UK
ProductGroup: Music
Binding: Audio CD

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The Jupiter Menace

ASIN: B0001BH6HS
Release Date: 2005-03-29

Tracks:

On Presuming to Be Modern
Phobos
Deimos
Sketches of Mythical Beasts
Disruption in World Communications
On Presuming to Be Modern II
Small Collection of Chords
Full Moon Flyer
Terra Incognita
Trellis
On Presuming to Be Modern III
Phobos & Deimos [Radio Edit]

Album Description

Cords was the third album to be released from Synergy and was originally released in 1978 whilst Larry Fast was recording and working with Peter Gabriel on his second solo album. The album is wholly composed and performed by Larry fast and contains the tracks Full Moon Flyer, Trellis and Terra Incognita. Cords has been re mastered for release alongside the other Synergy releases, which will be re released over the coming six months.

Album Description

The man behind Synergy is Larry Fast a native of New Jersey who was to have a far-reaching effect on the use of synthesizers in rock music during the seventies & eighties. 'Cords' was the third album to be released by Synergy & was originally released in 1978 while Larry Fast was recording & working with Peter Gabriel on his second solo album. Remastered with one bonus track 'On Presuming To Be Modern III'. Voiceprint Records. 2004.

Customer Reviews:

My second favorite Synergy album.......2007-03-24

While I like Sequencer a little better than Chords, I like Chords better than the first album.

My incentive to post a review though is that the editorial blurb states :
"The album is wholly composed and performed by Larry fast"
which I believe is incorrect.

Chords was the first Synergy album to include any form of guitar work, specifically in the form of an early prototype synth guitar and it was performed by someone other than Mr. Fast.

Really interesting stuff though, with a 'darker' feel than the first two albums. This one is a must have for synthesizer fans in my humble opinion.

Stands Up After 30 Years.......2007-01-10

This album blew me away in 1977 as a thoughtful, fast-forward use of electronic instrumentation for melodic music. While others around were utilizing similar technology, this album is truly inspired with music commensurate with the instrumentation (technology) that moves from beginning to end with the right mix of excitement and understatement making this a truly classic recording.

melodic depth.......2006-10-06

I own an original 1978 "clear" vinyl copy of CORDS which I am afraid to put a needle to. So this CD allows me to listen to this synthesizer masterpiece at will. CORDS stood out from the other electronica of that era due to its advanced layering and oceanic depth. Even in today's electronica genre this project has a fresh sound. An assemblage of titles which posses an ominous "breathing" quality about them.

A return, of sorts, to the beginnings........2005-12-11

This album is more like Electronic Realizations for Rock Orchestra than like Sequencer. If you liked the original Synergy album ER you'll probably like this one. If you like Sequencer (and I do) you'll probably like this one more. It's a return to the early days of synth music, when composers and musicians were just figuring out what to do with them, and just what they could do.

Average customer rating:

Pictures of the Gone World

Manufacturer: Synergy Ent
ProductGroup: Music
Binding: Audio CD

General | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

Poetry | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

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ASIN: B0007GAEMG
Release Date: 2005-02-08

Tracks:

Away Above A Harborful
Just As I Used To Say
In Hintertime Praxiteles
In Paris In A Loud Dark Winter
Not Too Long
And The Arabs Asked Terrible Questions
Yes
Sarolla's women In Their Picture Hats
'truth Is Not The Secret Of A Few
For All I Know Maybe She Was Happier
Fourtune
And She Like A Young Year
It Was A Face Which Darkness Could Kill
So
Funny Fantasies Are Fewer Never So Real As Oldstyle romances
Three Maidens Went Over The Land
Terrible
London
With Bells For Hooves In Sounding Streets
That Fellow On The Boattrain Who Insisted
Heaven
Crazy
Dada Would Have Liked A Day Like This
Picasso's Acrobats Epitomize The World
The World Is A Beautiful Place
Reading Yeats I Do Not Think/Sweet And Various The Woodlark

Average customer rating:

Solid Album!
Can't wait to hear it!
Great CD!!
You've come a long way Ken-man!
The Big Guy with the Big Sound...

Terra Firma
Ken Walker Sextet
Manufacturer: Synergy Music
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
ASIN: B0006TPDOS
Release Date: 2005-01-11

Tracks:

Amsterdam After Dark
Velocity
Ms. P & P
Blackberry Winter
Terra Firma
Highlife
Song For M
Just One Of Those Things
Mi Nena
Blues For P.K.
Boogie Woogie Bossa Nova

Customer Reviews:

Solid Album!.......2007-05-30

These guys never fail to put on an incredible show, and this album truly succeeds at recreating that experience. The diversity of songs and styles presented here creates a fantastic emotional rollercoaster, and the range and depth of musical ideas contributed by each band member provides for great long-lasting appeal, definitely pick this up!

Can't wait to hear it!.......2006-01-26

Ken-man! This guy was always the best when we were in college together! I can't wait to get my hands on this CD!

Great CD!!.......2005-12-22

One of the best jazz CDs I own, out of over 1000 cds in my racks. Its only a matter of time before the rest of the country picks up on how good this sextet really is. They are not into self-promotion, simply playing music they enjoy. Very tight arrangements, strong bass lines without being overpowering and just a really nice sound. As I said, one of the best CDs I own, destined to be one of the best you own as well!! Makes a great holiday present to a jazz-lover. Can't wait for the next CD by this group.

You've come a long way Ken-man! .......2005-09-03

Wow, all the way from washing dishes in Little Rock in your parent's restaurant to the cover of your own CD! Further, your major release is sold not only on Amazon, but I even purchased it from iTunes because I couldn't wait to hear it!
It has always been a pleasure to listen to you play -- but it has been a real blessing to call you a friend. Only jazz -- only acoustic. Congratulations Ken-Man. It's a fantastic collection.

The Big Guy with the Big Sound..........2005-07-19

Kenny is one of a great bass player and teacher in Colorado, and I was not hasitated to buy his CD at the first time I knew that he had one.

Benny Golson wrote,"I immediately bacame aware of his abilities and that he had something rather special."

Average customer rating:

A man to look out for in the 21st century!
Incredible Soul
Longboard Jazzer is an idiot
High Expectations...
Brilliant, but please, PLEASE, Soweto, lose the hip-hop

Conversations With the Unseen
Soweto Kinch
Manufacturer: Dune (Synergy)
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002VEQWA
Release Date: 2004-09-07

Tracks:

Intro
Doxology
Conversatioins With the Unseen
Elision
Spokes and Pedals
Intermission/Split Decision
Snake Hips
Mungo's Adventure
The Flame-Thrower
Equiano's Tears
Good Nyooz
Outro

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In the '50s and '60s, Jamaican-born Joe Harriott was the face of Black jazz in Britain, followed by Courtney Pine in the '80s. In 2004, alto saxophonist/rapper Soweto Kinch is the man at the helm. A member of the trailblazing ensemble Jazz Jamaica All Stars, the award-winning Kinch leads a supple and swinging combo through a pleasing and propulsive program that combines straight-ahead jazz with hip-hop, spoken word, and Caribbean elements. Tunes like the Latin-tinged "Doxology," "Snakehips," and the Trane-ish "Equiano's Tears"--dedicated to the 18th century British ex-slave Olaudah Equiano--show that Kinch knows the tradition, from Charlie Parker to Greg Osby. But he also kicks it as a lyricist, as evidenced on the Roots-like jams "Intro," "Outro," "Intermission - Split Decision," and "Good Nyooz," where Eska Mtungwazi's boppish vocals steal the show. God save the swing! --Eugene Holley, Jr.

Customer Reviews:

A man to look out for in the 21st century!.......2007-05-18

Alto saxophonist Soweto Kinch is definitely a man to look out for in the 21st century. I bought 2006's "A Life In The Day of B19: Tales of the Tower Block", his second and most recent album first. It's not available here for some strange reason, not even on import; I had to go to Amazon's UK site for it but I knew after just one listen that I would eventually come back and seek out this one too.

I was very sceptical about Kinch's blend of rap and jazz in the beginning but I've warmed to it now. Of course rap and jazz have been happy bedfellows for a while but having them both performed by the same artiste and on the same record, is definitely new to me. Kinch could very well set off a trend but I doubt there are many out there who will be able to carry it off with the same competent equanimity. This is a niche he will be occupying on his own for some time to come, I think.

I also saw him perform live here in Leeds recently. He's a man of presence, of great personality and charm. His band was one of the tightest I've seen in some time and they are all on this CD: Femi Temowo on guitar, Michael Olatuja on double bass, Abram Wilson on trumpet (and vocals) and the absolutely incredible Troy Miller on drums.

As far as the rapper side of Kinch is concerned, I find his lyrics intelligent and deep, while maintaining a certain humour. He doesn't seem to be rapping for the sake of being a rapper; he raps because he has something to say. You'll find none of the usual commercial bandwagon rubbish on here. He's also anti-capitalism, anti-profanity and anti-bling. My kind of hip-hop artiste. And this is 'real' hip-hop with a British accent, not that 250 words per minute 'Grime' thing that's currently very popular among teenagers and young adults here in the UK.

As for the jazz, well, these young men play 'real' jazz too. Not jazz fusion or smooth jazz. Real jazz. Kinch plays the saxophone with great feeling - heart, soul and warmth on the ballads and great gusto and precision on the fast grooves. He also has an interesting and unique approach to composition. There's not the usual theme, theme, couple of solos, theme and then fade or end here, and this makes his songs particularly intriguing and captivating to listen to. There are times when the interplay between Kinch and Temowo reminds me of John Scofield's well-established working partnership with Joe Lovano and that's saying something for such new talent. Onwards and upwards, it seems to me there's no limit to where these guys could go.

I also have to profess mad love and respect for Kinch, for being a member of a breed that's so rare in today's world of commercial homogeny: the modern musical artiste who dares to be different, who dares to be himself.

Favourite tracks: "Intro", "Doxology", the dreamy "Conversations With The Unseen", "Spokes and Pedals", "Snakehips" and the intriguing "The Flame-Thrower". Also worth looking out for is the brilliant Eska Mtungwazi on vocals, on "Intro", "Good Nyooz" and "Outro". Trumpeter Abram Wilson's vocals on the excellent and humorous storyteller "Intermission - Split Decision" were a revelation. He's a very good singer indeed.

But once again, I'm reviewing a CD that is brilliant in its entirety. Produced by Jason Yarde, this is fantastic stuff with jazz, hip-hop, social commentary and even a touch of comedy. Highly recommended.

Incredible Soul.......2006-09-24

This man has literally, the most incredible feeling for his music that I have heard since I first heard Giant Steps. Not an understatement. Buy this album, don't pirate it. Amazing. Outstanding. Carrying the torch for the future of jazz.

Longboard Jazzer is an idiot.......2005-11-04

Soweto Kinch is the future of modern jazz. Deal with it! unless you've had your head buried in your arse over the last 20yrs you would realize that hip-hop has basically redefined every form of music in the entire world. ESPECIALLY JAZZ!. Educate and Know Yourself FOOL!

High Expectations..........2005-09-18

I had an opportunity to see them live in NYC during the Charlie Parker festival. Unfortunately, the saxophone player was unable to play. Yet, I was impressed with their music. I personally like the mixture of Hip-Hop and traditional jazz rhythms. Most people believe that only good Jazz can be found in the US but, there are several good talented artists all over the world. I am looking forward to more good things from them in the future.

Brilliant, but please, PLEASE, Soweto, lose the hip-hop.......2005-07-03

Here's a brilliant young altoist, with a hot--albeit unknown--band (Femi Temowo, guitar; Michael Olatuja, double bass; Tony Miller, drums) who for some reason beyond comprehension feels the need to purvey idiotic hip-hop drivel, thankfully, for only three out of the 11 cuts, totaling only about 13 out of more than 70 total minutes. But that raises the question, Why include this inferior material at all? There's plenty of music to fill a respectably long disc without it. Maybe this blather solidifies his bona fides with the brothers in the hood. I don't know. And I don't care. What it really does, is reduce a spectacular disc from five stars to four. This is really, really stupid, as bad as the idiocy with which Mike Ladd lured V. J. Iyer into cooperating on that woeful disc, In What Language. Really, the hip-hop drek contained on this otherwise fine disc is too stupid to dignify with critique. So I won't.

Nevertheless, memo to Soweto Kinch: ditch the hip-hop idiocy and stick to your main thing, which is smart, sophisticated, edgy post-bop, world-beatish jazz. Indeed Kinch shows such maturity, fluidity, and flair as an altoist and composer, one wonders why he ever felt the need to indulge his hip-hop inclinations. With a tone and approach reminiscent of Greg Osby, although with an even greater command of his instrument than Osby displayed at a similar stage in his development, Soweto Kinch seems to have an assured future as an important and original jazzman.

His band is pretty killer as well. I'm especially taken by guitarist Temowo, who demonstrates a thorough familiarity with a sophisticated post-bop jazz vocabulary while at the same time carving out a distinctive voice of his own, ripping off fluid solos or brilliantly comping. The rhythm section of Olatuja and Miller play their butts off, locking in or going out as necessary. This sounds like a band that's played together for years (and probably has).

This spectacular jazz, among the most accomplished I've ever heard from an initial release, even though sadly compromised by the ill-advised inclusion of the hip-hop inanity, deserves the widest possible hearing. My advice: ignore, skip over, or program out the hip-hop stupidity, and you will have a genuine five-star recording.

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