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?
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.