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| 4.045 Ft
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| 1. | Rescue Spreaders
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| 2. | Fragile
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| 3. | Dory's Day Out
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| 4. | Electric Door Bell Machine
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| 5. | Power Patriot
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| 6. | Dugout
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| 7. | Fat Redneck Gangster
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| 8. | Purgatory
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| 9. | Germs
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| 10. | Computer Crimes
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Jazz
Marco Benevento - Editing, Keyboards
Mike Dillon
Skerik - Saxophone
Stanton Moore - Drums
GARAGE A TROIS is SKERIK, MIKE DILLON, MARCO BENEVENTO STANTON MOOREbrbr brbr brbr brbrGarage A Trois is a collaboration between four of the most visionary improvisers of the time: Skerik on saxophones, Mike Dillon on vibes, Marco Benevento on keyboards and Stanton Moore on drums. And while improvisation is what the quartet has staked its reputation upon at their legendary New Orleans Jazzfest sets and rare club tours, it s the intricate sonic weaves, tightly orchestrated arrangements, refined melodies and positively modern approach to instrumental songwriting that s at the heart of their latest long-player, Power Patriot.
Ben Mumphrey - Assistant
Eric Gerber - Booking
Jodi Cohen - Graphic Layout
Kevin Calabro - Production Coordination
Mell Dettmer - Mastering, Mixing
Mike Napolitano - Engineer
Peregrine Honig - Artwork
Likely to be termed by many as a super group, Garage a Trois certainly is seen by youth-oriented jazz listeners as their prime-time all-star combo of the 2000s. Saxophonist Skerik, keyboardist Marco Benevento, vibraphonist Mike Dillon, and drummer Stanton Moore (for this date minus founding member, guitarist Charlie Hunter), have on their side all the talent and credentials to rise high in the upper echelon of modern-day jam bands. For their third album, you hear danceable club funk, skronky sounds, noise, and hefty improvisation, as the group is able to create an exciting brand of nu-fusion. What sets them apart is that they don't sound at all retro or tied to the jazz-rock pioneers of the '70s, but instead have a future view of how amplified sounds can merge with deep blue beats. Though their individual credits as composers alternate between each number and member (sans Moore,) there's a consistent cohesion in the music. Benevento's rhythmic propulsion is more extant than his melodic contributions, but during "Rescue Spreaders," it sounds as if he's reconfigured "All the Things You Are" on some acid trip in a 5/4 hard rock beat, enhanced by Skerik's razor-sharp sax. "Fragile" is hardly that, actually pretty shatterproof in a raucous yet swaying funk that suggests lounge lizard stomp downs. Dillon wrote five of these tracks, and while his vibes are more resonant, endearing, or even cute as on the slowed "Dory's Day Out," they also get the party started, reflecting the fun of hip N.Y.C. on the more basic, neo-bop, unplugged/acoustic-oriented "Dugout," recalling Steps Ahead or the Brecker Brothers. The busiest piece is "Computer Crimes," not so much discernible melody-wise as it offers maddening polyrhythms from vibes and drums, urging protagonist Skerik in a poking, probing pose. A strained dynamic level is sustained on the otherwise lean and mean "Fat Redneck Gangster" with multiple wah-wah accents, "Germs" is out-and-out piercing in a tight and fast hard rock attitude as galactic sounds meet gothic black shadings, while the hard staccato accents of the title track over low-level electronics leads into an R&B setting not unlike something James Brown would have indulged in. Only marginally in your face, at least initially, Skerik's "Purgatory" is a late-night, elementary, and elegant piece to start, with whooshing, breathing electronics washing away doldrums before a tidal wave of tribalism body slams any inkling of conventional wisdom. This cross-pollination of snarl, rave-up, charged jazz is also identified by a unique contemporary sound these four players conjure collectively. It's a mostly dissonant, deviant, argumentative, distorted, hopelessly chromatic, and downright obstinate music, reflecting a downward life spiral in America suddenly reversed via rocket power, fueled by blatant enthusiasm. Strap in and hang on! ~ Michael G. Nastos, All Music Guide
Garage a Trois
Active Decades: '90s and '00s
Genre: Jazz
Styles: Acid Jazz, Trip-Hop
Garage a Trois started as a quick one-off improvised session that grew out of sessions originally done for Stanton Moore's All Kooked Out! album in 1999. The lineup -- Charlie Hunter on his eight-string guitar, Moore on drums, and Skerik on sax -- was basically the same for both projects, but the sound was quite different. On All Kooked Out!, the sound was upbeat and funky but Mysteryfunk (the first Garage a Trois recording) was darker and more atmospheric. Released only on vinyl, Mysteryfunk seemed destined to be the only Garage a Trois recording, but four years later Garage a Trois was back, augmented by percussionist Mike Dillon and with Skerik playing more than just sax. Emphasizer was the result, and with that, it appeared Garage a Trois was to be an ongoing project despite the busy schedules of all concerned. Outre Mer was next in 2005, a soundtrack to the French film of the same name. Power Patriot appeared four years later in 2009.
---Sean Westergaard, All Music Guide |
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