All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
A homogenous and playfully bastardized take on modern jazz, the Los Angeles-based Jazz Punks offers a rather chic, and youthful blend of jazz, punk-rock and rock on its debut outing. It's an undulating approach and at times, pleasantly schizophrenic by design. Here, electric guitarist Sal Polcino looms as the bridge between the rock and jazz element to augment the all-acoustic instrumentation tendered by his cohorts. The album comprises a hodgepodge of quotes and lucid interpretations of jazz and rock classics, morphed into a buoyant stance where no particular genre dominates.
A noteworthy example of the artists' output is "Led Gillespie," comprised of trumpeter Dizzy Gillespie's "A Night in Tunisia and Led Zeppelin's "Misty Mountain Hop." With soulful and jazzy interludes, hard-rock guitar licks and lightly swinging breakouts, the band translucently morphs a genre-hopping component into a common thread. During interludes such as pianist Danny Kastner's nimbly articulated solo, accelerated with weighty block chords, the band toggles between the rock and bop modalities, shaped with a soulful edge and a briskly paced gait.
The quintet proclaims a harmonious set of paradigms via a thoroughly hip campaign that offers insight into the boundless applications and possibilities inherent within the principal components of jazz.
Personnel: Sal Polcino: guitar; Hugh Elliot: drums; Robby Elfman: sax; Danny Kastner: piano; Michael Polcino: bass.
Year Released: 2012
| Record Label: Self Produced
| Style: Beyond Jazz
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...