First impressions carry weight and this release hit me in that Holdsworth place in my legato-ridden head. Wright’s chordal phrasing and voicing, the rhythm drive/ chord pluckings have that definite Holdsworthian touch. But after that the comparison ends. The Charles Wright Trio then sets off on its own brand of quality jazz fusion execution and song-writing.
Guitars, guitar synth, bass, and drums are played exceptionally well, tight, clean, inventively, and best of all hold this reviewer’s attention due to a their novel sound. Wright sometimes leans clean in his tone like Wayne Johnson or a mellowed Mike “Sterno”. I also heard echoes of the Elliot Freedman Group but then Wright goes riffing off into another unique voicing and phrasing with the grace of a Gambalesque moment. Wright has a great deal of tricks up his sleeve that serve to satisfy with Sean Peck and Mike Pryor flawlessly flowing alongside in counterpoint and unison.
My fav track overall was “Lucky Charm” with its march-like “call to battle” balladic flow. It was similar to the Dregsian side of Magic Elf in its hard-picked, funked attack, and upbeat push a.k.a. “high energy complexity”. I detected flashes of Djam Karet-ish progressive rock as well. Nice cut! Need some vintage solo Al DiMeola/ Santana/ Satriani rock with plenty of that 70s fusion edge? Then be sure to cue up the outro track, “Celestial Ceremony” where Pryor gets to stretch some. My second fav cut.
Final analysis: strong fusion, no flash, just right, tight, with novel moments, get your copy now fusion and guitar fans.
I love jazz because it is the only existing music style which let you
I was first exposed to jazz by Gunther Hampel in Hamburg, around 1972.
I met Ornette Coleman, Butch Morris, Karl Berger, Michel Camilo, a.o.
The best show I ever attended was Salif Keita at the Blue Note in
The first jazz record I bought was the Tony Scott and Hozan Yamamoto
My advice to new listeners: when you listen to my music, please be a
part of it.