mfs@mhuxr.UUCP (SIMON) (08/11/85)
This album is the latest attempt by Jackson to make his peculiar brand of harmolodic funk palatable to commercial audiences. To this end, he has hired the very fashionable Bill Laswell of Material to produce. Laswell adds a glossy finish to Jackson's music, which, while succeeding in making it more accessible, also chokes part of the its vitality. On the down side, there is "Snake Alley," a textbook example of the evil effects of drum computers. The idea of a computer-generated drum track, with Jackson and the rest of the Society playing on top, sounds good, but the machine, rather than free the music to soar, pulls it down into the mud. There is no interplay between the basic rhythm and the rest of the players. It is not part of the music; it just exists in its own binary space, not caring a whit about whatever else may go around it. Done without the machine, the tune would have burned; guitarist Vernon Reid especially wails here. But he is a bird with clipped wings. The liner says that the machine was programmed by Laswell, so I guess this tune and "Love Words for a Queen," which is similar, are the result of his presence. While he does integrate the Society's sound into contemporary funk, he also strips away its distinctive power. Sigh. On the plus side, there is the rest of the album, and it more than makes up for the clunkers. Jackson's concept builds on the contrast between contained intensity in the ensembles and messianic fervor in the solos. The real success of this album is that it closes the gap between abandon and control. The results can be stunning, from the solo-less "Bebop" to the incredible "Software Shuffle" and "Tricky Vic." Listening to this should make it clear that Vernon Reid is the best guitarist alive. The rest of the front line (Eric Person - soprano and alto; Robin Eubanks - trombone; Akbar Ali - violin) aquaints itself honorably (Ali is especially effective on the Middle Eastern modes of "Thieves Market", while Person wails ecstatically on "Behind Plastic Faces" and "Tricky Vic) but Reid clearly steals the show. By using two bassists, who often play in different time signtures, unrelated to each other but tied to his own drum lines, Jackson has set himself an awesome rhythmic responsibility (no wonder Ornette Coleman had to go to two drummers after he left Prime Time.) The marvel is that he never overwhelms his soloists, but rather lifts and cradles them in his percussive hurricane. This album, while it does not have the power of NASTY or of BARBECUE DOG, makes an excellent introduction to the Decoding Society and should not be missed. Marcel Simon
rlr@pyuxd.UUCP (Rich Rosen) (08/12/85)
> On the down side, there is "Snake Alley," a textbook example of the > evil effects of drum computers. The idea of a computer-generated > drum track, with Jackson and the rest of the Society playing on top, > sounds good, but the machine, rather than free the music to soar, > pulls it down into the mud. There is no interplay between the basic > rhythm and the rest of the players. It is not part of the music; it > just exists in its own binary space, not caring a whit about whatever > else may go around it. Done without the machine, the tune would have burned; (CHUCKLE CHUCKLE) Still at it, eh, Marcel? Could you possibly have listened to it and NOT judged it on the fact that it used a "drum computer", just listening to the music and the sound it offered? ... -- "iY AHORA, INFORMACION INTERESANTE ACERCA DE... LA LLAMA!" Rich Rosen ihnp4!pyuxd!rlr
mfs@mhuxr.UUCP (SIMON) (08/13/85)
> (CHUCKLE CHUCKLE) Still at it, eh, Marcel? Could you possibly have > listened to it and NOT judged it on the fact that it used a "drum computer", > just listening to the music and the sound it offered? ... > -- > Rich Rosen ihnp4!pyuxd!rlr Yes. Marcel Simon
rlr@pyuxd.UUCP (Rich Rosen) (08/14/85)
>>(CHUCKLE CHUCKLE) Still at it, eh, Marcel? Could you possibly have >>listened to it and NOT judged it on the fact that it used a "drum computer", >>just listening to the music and the sound it offered? ... [ROSEN] > Yes. > Marcel Simon Then why didn't you? ... Never mind. I forgot that your opinions about music have been proven as scientific absolutes. Hit me with your rhythm schtick... :-) (Please don't take it seriously.) -- "Do I just cut 'em up like regular chickens?" Rich Rosen ihnp4!pyuxd!rlr