According to Wikipedia, Jazz Fusion is “a musical genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with Rock music, Funk, and Rhythm & Blues.” During the ‘70s, Fusion was often looked upon as music for ‘sophisticated’ listeners. Artists like Miles Davis, Weather Report, and Return To Forever sold plenty of records but seldom would you hear their music played in restaurants or department stores. However, by the end of the ‘70s, a change was a-comin’. Fusion was always a fluid genre so when certain artists began to take it in new directions, new ‘genres’ were born. Jazz Rock, Jazz Funk and Smooth Jazz were three of the most popular subgenres that emerged from Fusion’s womb. And this is where The Jeff Lorber Fusion (JLF) comes in…
STEPHEN SPAZ SCHNEE: Your album, PERFORMANCE, is just about to be released. How are you feeling about how the album turned out and the reaction to it so far?
STEVE TEREBECKI: We are really excited about how the album turned out. This is the first album we’ve fully produced since LAST DAY OF SUMMER. I’ve enjoyed working with producers in the past, but being able to run with our own ideas feels the best. So far, people seem excited. “Magazine” was a different kind of style song for us, so it was cool to see it get picked up by so much radio.
Why on earth didn’t anyone think of this sooner? While a collaboration between Robbie Fulks and Linda Gail Lewis may now make perfect sense, it took a hell of a long time for someone to figure it out. And the timing couldn’t be more perfect – the world has been waiting for a new dynamic duo and they’ve finally arrived. Like a musical time capsule that reaches all the way back to the mid-‘50s, Robbie and Linda’s 2018 album WILD! WILD! WILD! is everything the title of the album suggests… and a whole lot more. From Country & Western to Rockabilly, this is an album created by and artist who was influenced by it (Fulks) and an artist that lived through it (Lewis).
In the U.S., Mungo Jerry only scored one hit song – “In The Summertime” – and most Americans are under the impression that there wasn’t much else by the Mungos beyond that one single. My review of the Cherry Red Records five CD boxset MUNGO JERRY: THE DAWN ALBUMS COLLECTION may have surprised people unaware of those releases. But guess what? I’ve got an even bigger surprise – Cherry Red has released a second Mungo Jerry boxset containing five more full length albums from the British act! Entitled THE ALBUMS 1976-81, this set veers into Blues/Rock/Glam genres and generally avoids the jug band Folk of their earlier releases.
“You are about to enter another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land of imagination. Next stop, THE ART OF THE SAMPLE!”
SPAZ: When writing an album like SUN ON THE SQUARE, do you tend to let the compositions flow naturally and reveal the album’s direction over time? Or do you have a preconceived idea on where you want the album to head, musically?
KAREN PERIS: We don’t usually have a plan, especially in regards to writing songs. So many songs, for me, begin and then fall away. So, an album builds slowly out of the songs we remain close to after a period of time.
Scottish singer/songwriter Chris Rainbow (1946-2015) is one of those artists that appeals to different groups of music fans depending on which projects they are more familiar with. His vocal work with The Alan Parsons Project has earned respect from legions of APP fans, his UK hit singles attracted attention in the ‘70s and his production work is highly respected. However, Beach Boys and vocal harmony fans have long held him in high esteem for his often-overlooked album output. 1979’s WHITE TRAILS was his final studio vocal release and shows that he was poised to bridge the gap between the wonders of his previous albums (1975’s HOME OF THE BRAVE and ‘78’s LOOKING OVER MY SHOULDER) and the promise of the ‘80s (i.e.: Electronic Music). Unfortunately, he turned his attention away from solo material and WHITE TRAILS remains his final foray as a front man.
It has been four years since Americana outfit Sons Of Bill released LOVE & LOGIC but the band have not been idle. This quintet – led by brothers Sam, Abe, and James Wilson – remained on the road, promoting their own brand of heartfelt heartland rock. However, touring wasn’t the only thing that slowed them down. The boys in the band took off a little time for themselves, too. Oh, and then there’s that little accident that James Wilson had – a fall on a champagne glass severed five tendons and the median nerve in his right hand. While this is definitely not a good thing for a guitarist to experience, it also hindered his ability to drive, dress himself, and other simple tasks we all take for granted. Thankfully, you can’t keep a good man down…
It’s been nearly thirty years since the self-titled 1989 debut album by The Innocence Mission was released. The album was a slickly produced slice of Folk Pop that was filled with enchanting songs that shimmered regardless of the production value. Throughout the years, the band has continued to create albums filled with beautiful melodies plucked from the rain-soaked side of heaven. SUN ON THE SQUARE, their 10th studio album, is no exception. Tender, minimalistic and haunting, the album strikes the perfect balance between frail and strong, heartbreaking and hopeful, and love and loneliness. In essence, it is everything you’d expect from an album by The Innocence Mission.
When talking about the original late ‘70s UK Punk scene, 999 seem to be one of the most overlooked bands of the era. Sex Pistols, The Clash, The Damned, Buzzcocks, The Jam, and The Stranglers are usually the bands that many folks think of first when praising the virtues of Punk and how it levelled and changed the musical landscape. While those bands grabbed the headlines, there were plenty of equally-worthy bands that deserved fame and fortune. As you would probably guess, 999 was one of those bands. 999 made music fueled by Punk yet firmly rooted in classic Rock ‘n’ Roll. The music they recorded may have been born during the Punk era but 40 years later, it remains timeless and essential. If you need proof of that statement, Captain Oi/Cherry Red’s four CD box set THE ALBUMS 1977-80 is exactly what you need to make you believe. Again.