Richard “Cool Beans” Patz should be considered the “T Rex” of dinosaur hunters at Shroom. He has dedicated his tireless energies to unearthing, rediscovering, and offering the waiting-for-cool-stuff, world lost “dinosaurs” of treasures of ‘70s fusion, prog rock, and other such eclectica. Having first reviewed Hands’ Palm Mystery which followed this release, I was eager to hear more of this exceptional band’s music.
I was not to be let down plenty of quality musicianship here! I again heard rockin’ fusion and mellow acoustic guitar, strong keys, tight bass, great drumming, lilting flute, tender vox, and of course jazzy, folk rock fiddling. Hands is Canterbury meets Dixie Dregs with flashes of vintage Jean-Luc Ponty. Listen closely for echoes of Jade Warrior, National Health, PFM, Arti + Mestieri, Hatfield and the North, Genesis, Kansas, Flying Island, and Tull. They wax their most ambitiously symphonic prog on the 10:29 “Antarctica”. I found “The Tiburon Treasure” a delightful vignette of acoustic guitar and violin. Best cuts for general rocking out and flat out furious fusion are “Castle Keep”, “Mindgrind”, and “Zombieroch”. The remainder of this release is predominantly toned down and contemplative with songs like “Dreamsearch” that even your non-prog, girlie friend/soulmate will enjoy. I highly recommend this release for a sweet taste of “what was but never came to truly be until now”. Thanks again, Mr. Shroom.
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.