In his acclaimed bass camps, Vic Wooten counsels his students that the spaces between the notes are as important as the notes themselves. Greg Howe doesn’t seem to have taken that lesson to heart, considering the number of notes per second on this release. Extraction is just about evenly divided between well-crafted, thoughtful compositions and dead-end chops demonstrations. Whether the ratio is worthwhile is up to the individual listener.
The pedigrees of these musicians are unquestionably solid. Right off the bat we’re treated to a powerful Chambers drum solo on the title track, which then settles into a 16th-note melody line so typical of modern fusion. “Tease” is exceptionally entertaining, each performer coming up with an endless series of creative ideas. But the next track, “Crack It Way Open,” is pretty much inconsequential filler, the kind of aimless noodling that almost put fusion in its grave a decade ago. The tracks keep alternating thusly between promise and pap.
When Howe picks up the acoustic guitar things get a bit more interesting, yet he still tries to say too much at times. Wooten adds some marvelous runs and his fretless playing is as fine as always but he, too, tends to fall into the 16th-note babble pattern. Chambers, for his part, bubbles and swells appropriately on each tune; it’s a shame he doesn’t have more to support. Keyboardist Dave Cook’s pads and lines help to keep things on track, and he is a respectable soloist. Extraction does have its moments, but it’s not the most wisely considered entry in anyone’s catalog here.
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz.
Being a Musician myself, (Lead Guitar/Bass Guitar), I studied at the Dick Grove School of Music with Dick Grove, Jeff Richman and Lee Ritenour. This was around '84-'85. I started playing the Guitar in November 1967. Playing Guitar came quite naturally to me thank goodness. Though I spent hours upon hours practicing while my school buddies were doing Sports.
It was in the early '70s that I really got into Jazz, Jazz Rock, Jazz Fusion and World Music. Seeing Weather Report, Miles Davis, Wayne Shorter, Larry Carlton, Steely Dan, John McLaughlin and the Mahavishnu Orchestra, RTF, Herbie Hancock and the Headhunters, VSOP, Freddie Hubbard and so many, many more amazing artists opened my eyes to the beauty and eloquent nature of Jazz. I really love the brilliant ensemble playing that is in Jazz!!
When I play and write music, it blends so many style together. Many fans ask me why my playing sounds so jazzy. It's because I understand Blue Notes, the phrasing, the tonality, time signatures and more. I can also play Rock, Folk, Soul, R n' B and other styles too. I seem to gravitate more and more as I get older to a jazzier style. Currently I'm 62 years old. I have released 2 CDs world-wide. Working on my 3rd.
I also teach Guitar/Bass/Music Theory to my students. They range from 6 years old to much, much older. (I was hired by the City of Aurora, CO to teach ages 6-13 specifically). Currently I teach 41 children in 5 classes. Additionally another 7 private students.
My wife, Meesh, and I love Jazz dearly. It was one of the things that we share together!
Most of the people that I know today do not get jazz. I try to explain what to listen for, but many times the music of Jazz is a bit much for them. So be it.
In a nutshell, I live, breath and listen to Music 24/7. No TV except the Food Channel and Weather.
I love John Kelman's articles. They are so insightful and well-constructed!
Thank you all for doing what you do.