  |
|
|
 |
| Sex Mob Does Bond [ ÉLŐ ] |
| Sex Mob |
első megjelenés éve: 2001
64 perc |
|
| (2002)
|
|
CD |
Kérjen
árajánlatot! |
|
| 1. | Dr. Yes
|
| 2. | Teasing the Korean
from "Goldfinger"
|
| 3. | This Never Happened to the Other Feller
from "On Her Majesty's Secret Service"
|
| 4. | 007
from "From Russia With Love"
|
| 5. | Battle at Piz Gloria
from "On Her Majesty's Secret Service"
|
| 6. | You Only Live Twice
from "The Spy Who Loved Me"
|
| 7. | Bon With Bongos
from "From Russia With Love"
|
| 8. | Oddjob's Pressing Engagement
from "Goldfinger"
|
| 9. | Bond Back in Action Again
from "Goldfinger"
|
| 10. | Over and Out
from "On Her Majesty's Secret Service"
|
| 11. | Dawn Raid on Fort Knox
from "Goldfinger"
|
| 12. | Nobody Does It Better
from "You Only Live Twice"
|
| 13. | Dr. Yes
Reprise
|
Jazz / Modern Creative; Post-Bop; Avant-Garde Jazz; Film Music
Recorded: May 2-3, 2001, Good & Evil, Brooklyn, New York, USA
Sex Mob Does Bond is the soundtrack to an imaginary James Bond flick, and a tribute, of sorts, to the music of John Barry. Aside from the leadoff track and its reprise ("Dr. Yes," ostensibly the title of the film), the program is a collection of Barry tracks taken from various Bond films. As always, Sex Mob applies its own swaggering brilliance to the proceedings, spicing up the somewhat familiar music with outrageous musicianship and a sly grin. Joined by guests John Medeski (organ) and the Sex Mob Soul Choir (backing vocals), Sex Mob rip through the Barry songbook, infusing each piece with a sexy, almost trashy vibe that was always subdued in the Bond films. In the liner notes, Steven Bernstein says he wanted his Bond film to be more explicit than the existing ones, and thus the addition of a "porno-beat" section (his term) to many of the pieces, giving them a vintage strip club-style bawdiness. The playing is uniformly excellent. Bernstein is the undisputed master of the slide trumpet (can you name another?), and Briggan Krauss is just plain sick (in the best way possible); he sounds like no one else on alto saxophone. Medeski's role is mainly to add orchestrations and color, but he also throws down on a few tracks, like "Battle at Piz Gloria." Tony Scherr and Kenny Wollesen can ably handle anything Bernstein (or anyone else, for that matter) throws at them. Co-producer and engineer Scotty Hard adds some subtle but wonderful sonic touches to several pieces, like the dub-style echo on the drums on "Teasing the Korean." The kitschy backing vocals on several songs just add to the fun. Sex Mob is notorious for bringing new tunes to the jazz canon, sometimes kicking and screaming (can you say "Fernando"?), and Sex Mob Does Bond is no exception. These tunes play great whether you're a fan of James Bond and John Barry or not. As sexy as anything Bond should be, and more fun than you thought jazz could be, Sex Mob has delivered the goods once again.
---Sean Westergaard, allmusic
Sex Mob
Briggan Krauss - alto saxophone, baritone saxophone
Steven Bernstein - slide trumpet
Tony Scherr - bass instrument
Kenny Wollesen - drums, timpani, percussion
Additional personnel:
John Medeski - organ
Sex Mob
Active Decades: '90s and '00s
Genre: Jazz
Styles: Modern Creative, Avant-Garde Jazz
Sex Mob began merely as a setting to feature the slide trumpet of leader Steven Bernstein, but has grown into a band with a much larger mission: to put the fun back in jazz music. After assembling the band (Bernstein, slide trumpet; Briggan Krauss, alto sax; Tony Scherr, bass; Kenny Wollesen, drums), Sex Mob began a residency at the Knitting Factory, playing predominantly originals written by Bernstein. During a special evening of film music, the crowd went crazy for the "James Bond Theme," and Bernstein realized that the audience was much more attuned to their playing when they recognized the tune. The band started to expand their songbook, but not to the same old, tired jazz standards. Songs by Prince, the Grateful Dead, the Rolling Stones, and even the "Macarena" could find their way into a Sex Mob set, the only rule being that the song had to have such a strong melody that it could withstand serious deconstruction. Bernstein said in Jazz Asylum, "I realize that's what jazz musicians have always done. That's how Lester Young got popular; its how Charlie Parker got popular; it's how Miles Davis got popular; that's how John Coltrane got popular. They played the songs that everyone knew and because they could recognize the song, then that invited them into their style."
Word of mouth began to spread about their live shows, with Bernstein's on-stage antics and the band's amazing musicianship as the focal points. Bernstein is one of the more active bandleaders out there, constantly dictating arrangements to the other musicians, and letting them have it when they don't deliver what he wants. They never rehearse and they never have a set list, which keeps things constantly fresh. Their weekly gigs eventually got them voted as New York City's best band in 2000.
Sex Mob's 1998 debut, Din of Inequity, was the only release of a short-lived agreement between Knitting Factory Records and Columbia Jazz. Augmented by two guitarists (Adam Levy and London McDaniels) and keyboard powerhouse John Medeski, Sex Mob romped through a program mostly of covers and a handful of Bernstein originals. 2000 saw the release of Solid Sender on Knitting Factory, as well as the self-released Theatre & Dance. Solid Sender is another mix of covers (Nirvana, Rolling Stones, ABBA) mixed with more Bernstein originals, some of which serve as short bridges between tunes. Solid Sender also uses a wider variety of guests, including DJ Logic and a string trio featuring Charles Burnham. Theatre & Dance is split between Duke Ellington compositions commissioned by choreographer Donald Byrd for a dance entitled In a Different Light: Duke Ellington, and Bernstein originals written for a revival of the 1926 Mae West play Sex.
2001 brought a change in label, from Knitting Factory to Ropeadope, and an album with a less kaleidoscopic selection of songs. Sex Mob Does Bond has the Mob (again with John Medeski) burning through the John Barry songbook, covering a host of tunes written for the first five James Bond movies. For 2003's Dime Grind Palace, Sex Mob focused on Bernstein originals with a myriad guests including trombonist Roswell Rudd. 2006's Sexotica on Thirsty Ear was a homage to the soundscapes of Martin Denny.
Steven Bernstein sums up the Sex Mob ethos like this: "Jazz used to be popular music. People would go out to clubs, listen to the music, go home, and get laid. Simple as that. We're bringing that spirit back."
---Sean Westergaard, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
