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Like a sound chemist, Charlie Peacock mixes acoustic jazz with electronica to create some interesting music on Love Press Ex-Curio (Love's Pressure Exhibits Curiosity). The pop and gospel Grammy-winning producer/artist now proves his passion for jazz, and the results are impressive.
The recording features a list of jazz heavies including Ralph Alessi, Joey Baron, Jeff Coffin, Ravi Coltrane, James Genus, Kurt Rosenwinkel, Roger Smith, Kirk Whalum, Victor Wooten, and others. Add the techno wizardry of Tony Miracle on laptop synths and Jerry McPherson on guitar loops and treatments, and top it off with Peacock leading the project with clever writing and solid chops on piano and various keyboardsand it all comes together in a hip and satisfying package.
The music grabs your attention with a successful marriage of technology and musicianship. Yes it's been done before, but there's some serious substance here. The fun "Be Well Johnny Cash incorporates everything from sound effects to big horns, spaced out guitars, and expressive solos held together by an upright bass and real drums.
Peacock is also a gifted pianist who brings his skills to bear throughout the project, but he showcases the solo pieces "Frank the Marxist Memorial Gong Blues and "Dodo's Whim with touches of blues and free expression. There are memorable performances by all of the musicians, proving the openness of these artists to experimentation. Other highlights include the cyclonic techno swing on "London Twist N Turn, the instrumental isolation on "Longing for Lewis, and the smooth flow of "All Or Nothing Grace. This juxtaposition of idioms works well, and music fans on both sides of the electro-acoustic equation should find something to enjoy.
Track Listing: When Diana Dances; Super Jet Service; Dodo's Whim; Be Well Johnny Cash; Frank the Marxist Memorial Gong Blues; Bucketachicken; London Twist N' Turn; Longing For Louis; All Or Nothing Grace.
Personnel: Ralph Alessi: trumpet; Jeff Coffin: tenor saxophone (except 2, 9); Joey Baron: drums (1,6,7); Ravi Coltrane: tenor saxophone (2,9); James Genus: acoustic bass (1,6,7); Tony Miracle: vibes, laptop, synths, ambient treatments; Jerry McPherson: guitar loops, electric guitar, treatments, ambient treatments; Charlie Peacock: piano, rhodes, programming; Kurt Rosenwinkel: electric guitar (4,8); Kip Kubin: ARP 2600 (2,4,8,9), ambient treatments; Roger Smith: Hammond B-3 (2,4,8,9); Kirk Whalum: tenor saxophone (1); Jim White: drums (1,7); Victor Wooten: electric bass on (2,4,8,9); Craig Nelson: acoustic bass (7); Henry Robinett: solo electric guitar (7); Myles Boisen: prepared and treated electric guitar (2,4,8,9); Gino Robair: percussion, drums (6).
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.