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Kérjen
árajánlatot! |
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| 1. | (Late Night at The) Maple Leaf
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| 2. | (Proper) Gander
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| 3. | Wissions (Of Vu)
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| 4. | (Sifting Through The) African Diaspora
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| 5. | Over (Compensatin')
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| 6. | (Smell My) Special Ingredients
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| 7. | (I Have) Super Strength
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| 8. | (Who Ate The) Layer Cake?
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| 9. | Thanks! (Again)
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| 10. | (Put on Your) Big People Shoes
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| 11. | (Here Come) The Brown Police
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Jazz
Emphasis (on parenthesis), with keyboardist Robert Walter and guitarist Will Bernard
Stanton Moore has proven many times over that he'll try just about anything. As the co-founder of the "steamroller funk" band Galactic, a recurring member of the tongue-in-cheek avant-funk ensemble known as Garage a Trois, engineer of a rapidly accelerating solo career, and session player for artists as diverse as Irma Thomas, the Preservation Hall Jazz Band, Corrosion of Conformity and Street Sweeper (a forthcoming project with Tom Morello of Rage Against the Machine and Boots Riley of The Coup), this drum virtuoso from the bent-but-unbroken music mecca known as New Orleans maintains a rhythmic arsenal that embraces jazz, funk, R&B, pop, hard rock and so much more.
When Moore joined the Telarc roster with the September 2006 release of III - his third solo recording - he brought with him some high-caliber session players, including keyboardist Robert Walter and guitarist Will Bernard. At the time, Moore and company were a loosely knit collective - each writing his own songs, each getting a feel for the others' musical sensibilities. But in the year-and-a-half since III, after settling into a comfortable groove amid scores of live gigs and exploratory forays, Moore, Walter and Bernard have become something more than just a random mix of musicians.
Emphasis (on parenthesis), the followup to III, features this same threesome in a much different creative place. It's clear from the eleven tracks that the trio has achieved a level of cohesion and confidence that no longer requires assistance from any other session guests.
"In the past year, I started to think, ‘Well, we're really developing some momentum, and we're seeing more and more people coming to our shows,'" Moore explains. "So when it came time to do another record, I had already known for a while that I wanted to build on the momentum of this band – three musicians who were becoming a unit unto themselves - and I wanted to get a little more adventurous with the music itself."
The quirky album title stems from Moore's recurring habit of slipping parenthetical phrases into just about every song he writes. "When we were working on the last Galactic record, the guys were commenting on how I tend to do that," he recalls. "When you're writing instrumental music, I think it helps to add a little something to get the song and its title to stick in listeners minds."
Emphasis (on parenthesis) is full of songs that stick. The set opens with the highly expressive "(late night at the) Maple Leaf," a tune loosely based on an instrumental improvisation that emerged during a gig that Moore and Walter played with bassist George Porter at the famed New Orleans club. "Robert remembered some of the stuff that we improvised - in particular, some of the chord structures that George was messing with at the time. Over time, Robert and I fleshed it out into more of a song."
Tracks like "(proper) Gander" and "(who ate the) Layer Cake?" are more riff-based and driving. "Those songs come from a heavier groove," says Moore. "We all listen to Led Zeppelin and Black Sabbath, so tunes like these lean more toward our riff-rock roots."
"Wissions (of Vu)" came about as the result of an interesting composing process. Moore and his trio donned headphones in the studio and improvised to the sounds of a favorite track by Wu Tang Clan. "The idea was to come up with parts to a song that would be assembled later," says Moore. "Once I was in the mix-down process, I just stripped away the track we were all listening to and started pulling out the parts that each of us played that I liked. Then I composed all the pieces into an actual song."
"(I have) Super Strength" was built around the exuberant exclamation of Walter's four-year-old son. "While Robert was demo-ing some ideas, his son was running around the house like a superhero," Moore explains. "He kept yelling, 'I have super strength!' It made it on the tape, and we all thought it sounded pretty funny. I had Robert loop his son's voice, and then we improvised against that."
This sense of experimentation and exploration has always been the cornerstone of Moore's music, no matter who he's playing with or in what context. But Emphasis (on parenthesis) never loses its connection to its basic three-man core.
"With this record, I went into the process with a lot more experience, and also with a lot more confidence," he says. "By just having these three guys in the studio, we could really do whatever we wanted. We could play things with loops in it, we could play things that were in 5/4, we could improvise, whatever. But the thread that holds the entire album together is the fact that it's the same three guys on every track... It's just a matter of what's coming out of us at that point in time. It's a very natural, organic process."
Stanton Moore
Active Decades: '90s and '00s
Genre: Jazz
Styles: Jazz-Funk, Modern Creative
A New Orleans musician in every sense of the word, drummer Stanton Moore's main gig is with his enormously popular funk band Galactic but he also plays with a wide variety of other musicians in both club and studio settings.
Growing up in New Orleans, Moore was attracted to the thriving music scene, where he absorbed the work of Professor Longhair, Meters drummer Zigaboo Modeliste, and his mentor, Johnny Vidacovich. After meeting founding Galactic members Robert Mercurio and Rich Vogel in the early '90s, Moore played in a series of early versions of the group, including Galactic Prophylactic and the Ivanhoes (in which the band learned a good portion of the catalog of the legendary Meters, New Orleans' founding funk band).
In 1994, producer Dan Prothero featured the band's song "Black Eyed Pea" on his Is That Jazz compilation. The band soon recorded Coolin' Off (1996) for Fog City Records, joined in the studio (and, eventually, on the road) by vocalist Theryl Declouet. Through constant touring, Moore met and collaborated with many established funk and jazz musicians, including Medeski, Martin & Wood keyboardist John Medeski, Karl Denson, and even the Meters' bassist George Porter, Jr.
Two musicians that Moore hit it off with in particular were eight-string guitarist and TJ Kirk founder Charlie Hunter and saxophonist Skerik. With this core, the band played a handful of live dates and, in the weeks after Mardi Gras 1998, cut what would become Moore's first solo disc, All Kooked Out. The disc also featured a handful of New Orleans horn players, including Brent Rose, Brian Seeger, Matt Perrine, Ben Ellman, and former Sun Ra trumpet player Michael Ray.
Following the recording of Crazyhorse Mongoose with Galactic, crammed in between Galactic tours, Moore traveled with Hunter and Skerik, playing incendiary live shows throughout the west. Many of Moore's songs are included in Galactic's setlist. He has often played around New Orleans with a revolving cast of musicians, billed as Moore and More. He has also been a member of the New Orleans Klezmer All-Stars. He has released a handful of solo albums including All Kooked Out! in 1998, Flyin' the Koop in 2001, III in 2006 and Emphasis! On Parenthesis in 2008.
--- Jesse Jarnow, All Music Guide |
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