As with the auspicious debut of The Last Farewell , Shapes continue to explore a breadth of styles on their sophomore effort, The Big Picture , still retaining a distinctive complexion that lends cohesiveness to the entire proceeding. That the group, led by Roger Burn, has shifted from being a six-person collective to a one-man operation with a large group of guest contributors makes this sense of focus all the more remarkable. "Cast of Thousands'" affairs often contain strong individual performances but lack the unity and chemistry of a more consistent lineup. On the other hand, with a constant revolving-door policy, Donald Fagen and Walter Becker have managed to infuse Steely Dan with a distinctive sound, and so keyboardist/vibraphonist Burn has succeeded in creating a work that, despite its many flavours, clearly retains a specificity of purpose.
By dividing the release into two discs, the first containing essentially more groove-oriented material, the second more mainstream stuff, Burn maintains a multifaceted musical perspective that makes each disc a self-contained unit and part of a larger whole. Still, within these two larger definitions lie even further subdivisions, demonstrating Burn's clearly voracious musical appetite. On disc one, the breezy contemporary flavour of "Arc of Twilight'" contrasts with the New Orleans funk of "Lobster'" and the second line blues of "Measure Once,'" while the 12/8 shuffle groove of John Coltrane's "Naima'" appears at odds with the overtly Latino vibe of the title track and the bossa-inflected "Sotto Voce.'" Despite its clearly accessible nature, the disc has a substance and profundity that escapes the risk of a smooth jazz classification in the same way that recent Yellowjackets recordings have avoided similar comparisons through a more organic disposition that paradoxically masks complexity in a deceptively approachable sound.
That there should be some comparison to Yellowjackets will come as no surprise, with Yellowjackets bassist Jimmy Haslip in the producer's chair for a second time. Haslip's instincts bring the most out of Burn's engaging arrangements, featuring substantive soloing from the likes of harmonica player Tollak Ollestad and reedman Andy Suzuki (both holdovers from The Last Farewell), as well as guitarists Robben Ford, Matthew Von Doran, and Mike Higgins. Burn concentrates more on vibes this time around, creating a more lightweight complexion.
And while the focus of disc two is on the mainstream, as with the swinging reading of "Softly, As In a Morning Sunrise,'" Burn isn't afraid to shake things up, as he does with the half-time funk of "Love for Sale.'" Russell Ferrante, another Yellowjackets member who adds a variety of keyboards to six tracks on the album, contributes the episodic 6/8 piece "Automat,'" which, at nearly ten minutes, forms the centrepiece of disc two.
That Shapes are now more of a studio concoction than a live performing vehicle doesn't detract from Burn's clear musical vision. Regardless of the context, he melds approachable rhythms and pleasing melodies with enduring soloists, making The Big Picture both an evolution and an improvement over Shapes' first release.
Track Listing: Disc One: Arc of Twilight; Naima; The Big Picture; Gabriela; Eat the Heat; Lobster; Measure Once; Sotto Voce Disc Two: Softly, As In a Morning Sunrise; Love for Sale; In the Outdoors; I Didn't Know What Time It Was; Automat; I Still Remember; What Now?
Personnel: Roger Burn (vibraphone, rhythm arrangements, acoustic piano, Hammond B-3 Organ, background vocals, marimba, horn arrangement, reed arrangement), Tollak Ollestad (chromatic harmonica, background vocals, acoustic piano, synthesizer, pads, rhythm arrangement, bass harmonica, blues harmonica), Jimmy Haslip (electric bass, tambourine, background vocals, synthesizer), Russell Ferrante (acoustic piano, Hammond B-3 organ, synthesizer pads, sampled strings, string arrangements), David Derge (drums), Matthew Von Doran (electric, acoustic and eleven-string guitar), Walfredo Rayes Jr. (percussion), Larry Steen (acoustic bass), Roy McCurdy (drums), Robben Ford (electric guitar), Ken Lasaine (acoustic and electric guitar), Doug Livingston (pedal steel guitar), Michael Barsimanto (drums, cymbals, cymbal swells), Dean Taba (acoustic bass), Andy Suzuki (flute, alto flute, clarinet, bass clarinet, reed arrangements, soprano saxophone, tenor saxophone, alto saxophone), Mike Fahn (valve trombone), Nick Lane (tenor and bass trombone), Bill Bergman (tenor saxophone), Les Lovitt (trumpet), Steve Baxter (tenor trombone), Wally Wino (vocals), Wayne Cook (Hammond B-3 Organ, sound design), Rick Rossi (flute), Lee Turano (accordion), George McMullen (digeridoo, tenor trombone), Mike Higgins (electric guitar, rhythm arrangement), Pauline Wilson (vocals), Billy Hulting (orchestra bells, wind chimes, percussion), Rachel Jiyoung Yoon (orchestration technical advice)
The first jazz record I bought was Bill Evans' Sunday at the Village Vanguard. When I was in high school, I somehow stumbled
across the track My Man's Gone Now and was instantly transfixed. It was the most beautiful thing I'd ever heard. So I saved up
(times were hard for a teenager back then) and went out and bought the album.
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