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With a live performance at The Mohawk Place in BeauFleu, New York, this exciting band follows last year’s debut with more fun. Some of it is dance music; some of it simply pure energy. In places, the band amuses with creative hijinks. Sharing a free spirit and improvised action with the jazz world, this drummer-led band prefers enthusiastic rock and hard-core funk as its focus. Using tapes with altered speed & vocal pitch, electronic sound distortion, shouting, spoken word; as well as the more traditional thumping electric bass, powerhouse drum set and high-voltage electric guitar, the band pumps up the audience and brings them in as a part of the recording. Sound and video clips from this album are located at http://www.thewaz.com .
Two classic jazz compositions receive personalized treatment. John Coltrane’s "Impressions" is revered, but with back beats and half-baked saxophone daydreams. Eddie Harris’ "Freedom Jazz Dance" gets along fine with a rock-steady drum set, organ and bass holding down the fort. The band adds vocal raps, alto saxophone wails, and fiery guitar licks to the mix. These are free spirits, having a good time. Today’s performers have been exposed to a wide-ranging palette of musical styles that range from jazz, blues & classical to rock, rap & world. It’s up to the individuals to decide which ones they wish to incorporate. The Waz has elected to take a little here, a little there – and build it into his own sound. It’s working.
Track Listing: Impressions; Dig?; Bubble Rump; Freedom Jazz Dance; ?; Freshouttabedlook / Sex Machine.
Personnel: David "The Waz" Wasik- drums; Eric Crittenden- vocals, alto saxophone; Stuart Fucha- guitar.
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 ...