As their web site indicates, Wingnut draws from hip-hop, funk, soul, trance, and jazz. Mostly instrumental music colored with Hammond B-3 and Fender Rhodes, the trio's hip presentation is intended to foster creativity and still appeal to a broad audience. Wingnut is Michael Stark, Walt Lorenzut and Zaun Marshburn.
"Galoshes" contains vocal tracks that add lyrics and wordless phrases. Marshburn's powerful drum backbeat forges a monotonous rock emphasis, while his electric guitar interlude blends with Jen Middaugh's vocal tracks to stir things up considerably. The ten-and-a-half minute piece changes mood several times. Keyboards and creative instrumental combinations make the piece swing. Stark seems to enjoy the jazz tinges he adds to this standout track. Elsewhere, the session ranges from mainstream, acoustic jazz to techno-dance funk and hip-hop. Judith Burton's rap offering, "Bag Slap," contains poignant lyrics. "Head Toaster" and "Tin Can" push the creative envelope, while "Three Brothers from Detroit" and "Windshield Letters" coast with authentic jazz sounds. Wingnut retains a traditional core while exploring fresh avenues. Each member of the trio demonstrates a thorough knowledge of the genre. Herbie Hancock's "Wiggle Waggle" runs straight ahead with a tough-edged funk personality. These guys certainly know how to turn it loose. Unfortunately, they rely far too much on trance-like rock rhythms and repetition. Wingnut teams with trumpeter Paul Merrill on the anagram "Sugnim" to swing straight-ahead jazz toward the audience. Marshburn's Gene Krupa fours lead to some outside playing, but it's not enough. Never is.
Track Listing: Emerge; Yellowbird; Galoshes; Sugnim; Head Toaster; Tin Can; Three Brothers from Detroit; Wiggle Waggle; Bag Slap; Four Paths; Windshield Letters; Re-emerge.
Personnel: Michael Stark- Hammond B-3, Fender Rhodes, Wurlitzer, piano, synth, voice; Walt Lorenzut- bass guitars, kazoo, samples, voice; Zaun Marshburn- drums, percussion, trombone, flutes, electric guitar, slide whistle, voice; Guests: Jen Middaugh- vocals; Maurice DJ M.O.P. Perry- human beatbox, turntables; Elizabeth Fogarty- pedal harp & voice; Matt Morano- electric percussion; Judith Burton- vocals on "Bag Slap;" Paul Merrill- trumpet on "Sugnim;" Joe Kaczorowski- tenor saxophone on "Yellowbird."
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.