Quick and to the Point: Extremely friendly and accessible panoramic jazz.
Chasm’s latest offering is as poly-emotive as it is poly-rhythmic, relying on exotic instrumentation to frame a singular sound that emerges with steadily melodic friendliness. The sweetness and liveliness of the flute is superbly arranged around simple percussive patterns conceived as strong support for the various stringed instruments. This is music live enough for feet tapping, although pleasant enough to be featured in any context whatsoever.
“A.K.A. You” features a rockish foundation exoticized by Chasm’s take on this frame of reference and with its own sense of peppiness. On “Elegy in G Major,” the plaintive recorders flow on a cloudish-keyboarded sound background that documents a melodically strong Classical foray into beauty. “Neo Rio” is the Latin representative of Panorhythmica. Its sensuous overtones are evident in the leading guitar’s solos, with tasty percussiveness driving and heating things up. Overall, examples abound in this release representing various musical sources and expressions, all touched up with delicate attention in order to appeal to the extended audiences available to such musical friendliness and accessibility.
One take at the instrumentation present in this recording, and sonic curiosity is immediately aroused. Chasm’s Panorhythmica might sound oversimplified to ears accustomed to oversold jazzistic depth. For lovers of cordially melodic music, however, these worthy musicians offer a sound of their own. When was the last time you heard a baritone ukulele, geist horn, alto flute and marimba on a world jazz album?
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.