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Following the passing of guitarist and co-leader Nick Webb in 1998, Greg Carmichael has decided to move forward, retooling the band with a new guitarist/co-leader John Parsons and several other new collaborators. (Parsons produced several early AA albums and also provided some supporting guitar.) The result is a little more of a "band" feel; the centerpiece is still the two guitarists, but keyboards and the occasional trumpet or sax push the band in new directions. Here, acoustic guitars, piano, and percussion co-exist almost seemlessly with computer-driven backgrounds and percussion. The result is genuine and natural, with little condescension to fad or formula.
The band achieves a nice balance of staying true to the Acoustic Achemy roots while also introducing new elements. For example, on "Kidstuff" there are touches of kids' voices (natural and electronically altered), sax and piano solos, and a zippy background horn section. For added variety, two of the program's more memorable tunes, "Big Sky Country" and "Trail Blazer" (which are new but somehow seem familiar already), were re-recorded in Nashville with some of that city's top session players, achieving a more country-fied feel with dobro and harmonica. Both versions of each tune are included.
Good compositions, sparkling clean musicianship, and nice variety within the contemporary jazz framework combine to make a thoroughly competent and enjoyable addition to Acoustic Alchemy's already impressive discography.
Track Listing: The Angel of the South; The Panama Cat; Trail Blazer; The Beautiful Game; Hats of Magic; Tete a Tete; The Last Flamenco; Kidstuff; Big Sky Country; Hold On to Your Heart; Jubilation; Big Sky Country (Nashville version); Trail Blazer (Nashville version). (62:55)
Personnel: Greg Carmichael and John Parsons - guitars; Terry Disley, Tony White - keyboards; Frank Felix - bass; Geoff Dunn, Frank Tontoh - drums; Snake Davis - sax; Guy Barker - trumpet.
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 ...