Branford Marsalis, Lucas Lee and Tim Morse are part of the latest edition of Five for the Road, an occasional look at music that’s been in my car lately …
LUCAS LEE – SINDROME de ESTOCOLMO (PROG / ROCK): Lucas Lee returns with his most aggressive and ambitious release to date. Sindrome de Estocolmo, which drops to all the retailers on Feb. 2 and is available now for preorder via Bandcamp, finds Lee is a more adventurous mood than his stellar 2018 release, Lowered Expectations. Kicking the album off with the dense and brooding epic “Final Insurgence,” Lee provides a progressive-rock gem, keeping the listener at the edge of the seat. The instrumental album paints vivid pictures. Lee’s guitar work is always daring, but his effective use of acoustic piano and ’70s-style synthesizers add to his sonic textures. Drummer Marco Minnemann is back as the only other musician, adding his expected percussive flair. “Dangerous Game of Escalations” continues the serious theme, incorporating spoken samples from actor John Reynolds, layers of guitars, and a vicious Marco Minnemann backbeat. The song, a follow up to “Justice Injustice” from Lee’s Normalcy Bias album, is just eight minutes of audio acumen, range and craftsmanship. This eight-song, 70-minute album isn’t easy listening, but Sindrome de Estocolmo is compelling work and an engaging set of songs for progressive-rock fans.
BRANFORD MARSALIS – MA RAINEY’S BLACK BOTTOM (JAZZ): Unless you spent the last few weeks of 2020 holed up in a bunker, you are familiar with the wonderful and probably award-winning Ma Rainey’s Black Bottom. Available on Netflix, the movie is an unflinching look at the “Mother of Blues,” Ma Rainey, as she goes about the process of making an album in Chicago, instead of her usual venue of New Orleans. Multi-award winning composer/saxophonist Branford Marsalis faces the challenge of providing music that captures the 1920s motif, works in the background yet strongly supports the musical setting. Faced with those parameters, Marsalis seems to easily work outside of his comfort zone with the period-specific compositions. “Ma Rainey’s Black Bottom” will get Academy Award attention. Vocalist Maxayn Lewis provided a level of swagger which fits the main protagonist. The band swings with authority, melding the Chicago and New York vibe, and casting a spell which is maintained throughout the album. “Leftovers,” a smoldering piano-driven ballad, and “In the Shadow of Joe Oliver,” a muted trumpet slow-burner are also gems among gems. Branford Marsalis has made the finest background music of the last 12 months, equal in quality to this fantastic film.
TIM MORSE – THE ARCHEOLOGY PROJECT (PROG / ROCK): Tim Morse is a modern-day prog rock journeyman. I’d just finished devouring Faithscience when I received his new compilation, The Archaeology Project. Spanning Morse’s output from 2005-2020, the album seems like more of an entry point to Morse’s music instead of an end. Older songs such as the epic “Apocalyptic Visions” and “Afterword” benefit from the remastering completed by Morse with Craig Long.
PETER DiCARLO – ONWARD (JAZZ): The taunt and aerobic interplay between bandleader Peter DiCarlo and on alto and guest tenor saxophonist Scott Wendholt on the title track immediately grabs your attention. You soon realize DiCarlo is not holding back on his debut album. The New York City-based tenor player brings eight compelling original songs coupled with fresh and lively arrangements and a skilled group of players to propel these songs forward. “Feast in the Fusar,” arranged by Lee Hogans, offers a touch of contrast with its moving yet seemingly straight-forward rhythms, while “Stepping Off” grooves as drummer Chris Parker and bassist Jim Ridl take flight before Peter DiCarlo lifts the song to new heights with his powerful solo. Onward, out on Shifting Paradigm Records on March 12, gives us one more great thing to rejoice in 2021.
THE LOS SUNDOWNS – THE LOS SUNDOWNS (R&B): Guitarist Beto Martinez never seems to rest – and given this collaboration with Daniel Villarreal, I’m glad he doesn’t. Recording under the moniker the Los Sundowns, the duo delivers driving Latin-tinged soul music. Martinez, no stranger to powerful funk (Brownout, Grupo Fantasma) seems to be a storehouse of taste vintage funk and soul licks. The collaboration with Villarreal’s rhythmic chops honed from his drumming and DJ background creates something powerful and organic. The songs, which were produced by Martinez as well as written and engineered by him, span a range of Latin soul and feature a strong cast of supporting players such as vocalist Alex Chavez on “Al Final de La Tarde” and Fermin Sanchez from the group CDMX on “Los Angelos.” The Los Sundowns, which is out on February 12, is six songs of soul-feeding joy.
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