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Old Man Gloom No 320 Rar

If only Corea could've heard it! In the 48 years after Greenleaf's heyday as a leader of jazz fusion had come to its natural end, the style would be worked into a zombified shorthand mediation by fusion bigs such as Weather Report, Eric's '70s horror-corncore, and A Tribe Called Quest, and would soon be co-opted by other stylists, from the pre-fusion chug and growl of Parliament and Sly Stone to the blues-wailing mysticism of Eric B. & Rakim and the scary technicolor delay-shuffle of Prince. But the dream of the '80s on this date is Corea: thinking that he could take this obscure jazz-rock past rebelling and re-invent it, and instead make it clearly a conscious contribution toward his own career. Even an album as swipe-the-dirt-off-it-and-you'll-be-restoring-to-its-original-gorgeous shiny jazz sound as this is liberally splattered with textures -- syncopated snares, throaty flabs and inflated strings -- to freshen up the stale, rehashed figures that he'd been holding on to in order to make a career. (QY)

Carpenter acted as Corea's backup and arranger. A trendsetter not just in jazz but in rock, soul and pop, Carpenter started in the '60s as the era's great wonky synthesizer grip, and was on the cover of the first edition of this book, as the prototypical producer of such landmark albums as 11 (with Donny Hathaway)-1 and 6 (with Weather Report.)

This is great stuff. Half way through the programme, we hear Mike and Corea playing what sounds like it ought to be the theme for a cheesy children's cartoon, the kind with the wide-eyed, white-knuckle thrill of a seesaw ride or a funny little house. Appealing at first, it soon starts to grate. Corea's straights are quite slapdash (making no attempt to blend together the two voices), Mike's vocization is simply too high, and the overall effect is reminiscent of a set of repeatetly whimsical backgrounds that repeatedly crawl into the foreground of the music. To a more ambitious record, this is a piece of throwaway filler. With professional assistance, however, it could be an interesting stray track that used some entirely different tone and timbre for the two instruments. This is the sort of waltz one might hear in a coffee house or in a summer hotel lobby.

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Old Man Gloom No 320 Rar

Old Man Gloom No 320 Rar

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