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Kérjen
árajánlatot! |
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| 1. | Sunnyside
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| 2. | The Vine
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| 3. | Wing and a Prayer
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| 4. | Lose the Suit
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| 5. | You Never Know
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| 6. | Tell Me
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| 7. | With a Twist
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| 8. | True Enough
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| 9. | Pages
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| 10. | Bait Tone Blues
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BETWEEN THE LINES was nominated for a 1997 Grammy Award for Best Contemporary Jazz Performance
Jazz
Fusion
Post-Bop
Recorded: Power Station, Platinum Island Studios, Kampo Studios and The Loft, New York, New York
Mike Stern (guitar); Bob Malach (tenor saxophone); Jim Beard (keyboards); Jeff Andrews, Lincoln Goines (bass); Dave Weckl, Dennis Chambers (drums)
Mike Stern does what he does very, very well. He has carved out a unique niche for himself among modern fusion guitarists, a vision that combines funk and R&B bass/drum grooves with skittish melodies often involving extended chord fragments. Stern's lead voice is one of the most distinctive in the genre as well, as his chorused and sometimes distorted tone is always prominently displayed. Stern is joined on this 1996 offering by frequent collaborator Bob Malach, a tenor player with a particular talent for laying screaming lines on top of smoking drum grooves as well as ably doubling and bringing to life Stern's often bookish and theoretical melodies. Completing the band are twin rhythm sections, consisting either of Dave Weckl and Jeff Andrews or Lincoln Goines and Dennis Chambers. Like many of Stern's recordings, the problems lie generally in the sameness of the arrangements and the relatively forgettable nature of some of these songs. Although they are all thoughtfully composed, they sometimes tend to run together a bit in the mind of the listener. Jim Beard's keyboard textures also could be done without, as they add a distracting sheen to the compositions. But there has always been this sort of tension in Stern's work between the obvious and the unexpected. Take, for example, "Lose the Suit," which features an extremely funky intro and a great Stern solo, as well as an extremely predictable bridge that almost sounds as if it could be the theme song to a long-running soap opera. Any lingering sense of treacle is dispelled once Stern kicks in the fuzz, however, and lays into the track. Not the best thing he's ever done, but quite good, and sure to please fans.
---Daniel Gioffre, allmusic |
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