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 was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.