During the 90s and into 2000, “Cuneiform Records” has been reissuing this Belgian band’s back catalogue – much to our delight we may note! Through various permutations and gaps in output, this wonderful aggregation has been in existence since 1974. Now, drummer/keyboardist and cofounder, Daniel Denis surges onward with an extended ensemble, featuring ten musicians instead of the band’s historical penchant for utilizing four, five, or six players. Nonetheless, this group has to some extent, personified the “Chamber Rock” genre, which is a characterization that emanates from its origins in the “Rock In Opposition” (RIO) movement.
Denis and associates render difficult to navigate time signatures and hallowed strings while they extend their reach with the addition of synths, and electric vibes. Hence, the chamber and gothic feel presides but the added instrumentation offers a polytonal outlook, comprised of a multi-layered slant. They pursue darkly hued textures amid weaving chamber-like passages and melodically tinged themes. On “Rouages: Second Rotation,” Denis employs a church organ (or digital patch) in concert with programmatic sequences of EFX and orchestral tympani patterns. While Eric Plantain’s steely edged electric bass lines supply the at times, haunting undercurrents. There’s a whole lot of goodness going on – especially during pieces such as “Zorgh March,” which features a militaristic march-type progression. Here, the soloists’ whimsically oriented choruses are augmented by Denis’ regimented rhythms, as the band projects a scenario that elicits notions of – preparing the troops for battle. The musicians instill a sense of urgency and motion throughout, whereas the album title effectively suggests a rhythmic matrix! Either way, this recording marks a significant milestone for this time-honored aggregation! (Zealously recommended)
I love jazz because it is in my blood. It is the only original American art form. It is sacred. The greatest musicians are jazz artists.
I was first exposed to jazz in 1961 listening to my father's records of Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole, Ben Webster, Coleman Hawkins, Lester Young.
I met Sonny Stitt, Wayne Shorter, Branford Marsalis, Joey Calderazzo, Michael Brecker, Cannonball Adderley, Walter Booker, Dave Liebman, Joe Lovano, George Benson, Mike
Stern, Stanley Turrentine, Billy Harper, Skip Hadden, Charlie Haden.
The best show I ever attended was Joe Lovano with Soundprints at the Wexner Center in Columbus Ohio in 2014.
The first jazz record I bought was Miles Smiles.