Zig Zag Power Trio – Woodstock Sessions Volume 9

Posted on May 1, 2018 by aaamc

Artist: Zig Zag Power Trio (Vernon Reid, Will Calhoun, Melvin Gibbs)

Formats: CD, Vinyl, Digital

Release date: March 16, 2018

Zig Zag Power Trio’s Woodstock Sessions Volume 9 is a difficult album to classify stylistically. It is also rather startling if the personnel are merely taken at face value. Vernon Reid and Will Calhoun from Living Colour join bassist Melvin Gibbs, who might be most frequently associated with the Rollins Band. Thus, a listener who is only casually familiar with these musicians might expect the trio to be a hard rock band, if not a metal band. Granted, there is evidence of these stylistic expressions, and there are power trio rock influences from artists such as Jimi Hendrix. However, Zig Zag Power Trio also possess more eclectic influences. This is a jazz fusion record as much as it is anything else, a fact that is not surprising given that Gibbs and Reid played together in free-jazz drummer Ronald Shannon Jackson’s Decoding Society decades ago.

There will be guitarists who discover this recording due to Reid’s presence, and they will hear references to many of his influences—Jimi Hendrix; Bill Frisell, who collaborated with Reid on Smash & Scatteration in 1984; and David Torn, just to name a few. More than on any other recording, Reid’s ability to draw from a palette of influence consisting of hints of many players is supremely evident. Frankly, there are stellar individual performances by all three band members, but much of the virtuosity on this album lies in how the members interact with one another. Interaction is, of course, one of the attractive qualities in listening to any group of excellent musicians, but this recording serves as an impeccable example of interplay.

The cover of Junior Kimbrough’s “I Love Ya Baby” is the sole straight-ahead rock song on the album, and it is reminiscent of blues-rock jams à la Johnny Winter or Jimi Hendrix. However, Zig Zag Power Trio definitely puts their own stamp on the genre. “Professor Bebey,” which was previously released by Reid on his 2006 recording, Other True Self, is a departure from every other tune on the album with its African highlife feel. These two tracks are two of the most fun songs on the album. The remainder of the tunes are largely avant-garde in nature, so these two tracks are also the most accessible. However, this should not be interpreted as a negative review of the rest of the recording.

The cover of Ornette Coleman’s “Lonely Woman” is amazing. Not only is it a testament to the haunting quality of the original, but Reid and company put on a clinic in how to communicate musically with other band members. At times, Calhoun’s drumming is reminiscent of legend Billy Cobham, and Melvin Gibbs manages to tear the bass apart subtly, if not sneakily. “Lonely Woman” is an almost nine-and-a-half minute masterclass for any musician, and something new will be heard with each listen. ZZPT’s interpretation of Ronald Shannon Jackson’s “Eastern Voices Western Dreams” is another standout. The ambience is simply beautiful, and Reid and Gibbs play extremely well together—evidence of the fact that they were both playing this tune in Jackson’s band circa 1980. “Woodstock” and “David Bowie” are also songs of interest due to the atmospheric textures produced by heavily processed guitar sounds.

Woodstock Sessions Volume 9 is full of abundant surprises, with each of the members turning in career performances throughout. Combined with excellent musicianship, the sheer number of stylistic influences offers a little something for everyone. Having said that, fans of music that lies somewhere between progressive rock and jazz fusion (e.g. David Torn or Robert Fripp) will be very pleased. Considering the presence of tunes by Ornette Coleman, Pharoah Sanders, and Ronald Shannon Jackson, it is also fair to say that fans of avant-garde jazz in general should consider giving this group a thorough listen. So far, the Zig Zag Power Trio and their debut album are flying under the radar, but that should soon change. Let’s hope there’s another project in the works.

Reviewed by Joel Roberts

Living Colour – Shade

Posted on September 1, 2017 by aaamc

Title: Shade

Artist: Living Colour

Label: MRI

Formats: CD, LP, MP3

Release date: September 8, 2017

After almost thirty years in the industry, Living Colour has proven time and again they are a force to be reckoned with in rock music. Since the band’s inception they’ve been an amalgamation of varied influences—funk, blues, hard rock, soul, jazz and metal—in the best possible way. Shade furthers demonstrates their musical prowess. It’s been eight years since the well-received The Chair in the Doorway album and Living Colour wastes no time reestablishing themselves.

“Freedom of Expression” sets the album off lovely with the band flexing their well- honed chemistry and skills. Vernon Reid’s main guitar riff is catchy and menacing. Doug Wimbish and Will Calhoun handle the rhythm duties, with a thumping bassline and funking drumming respectively. Lastly, Corey Glover’s vocals sound as powerful and impassioned as ever.

Issues of social justice have long been a touch point in songs by Living Colour and “Freedom of Expression” is no different. Glover sings, “The news you use has been falsified / til you use my fear against me every side / won’t let you choose for me pick a side / no left, no right, no middle, no divide.” Furthermore, on “Blak Out” the band plays with the concept of double consciousness that is salient to the lives of most Black people in America. When Corey Glover sings “Sometimes they misunderstand / Don’t know who I really am” you might call it signifying as many Black listeners know the struggle not to “blackout” all too well.

On “Preachin Blues” the band’s blues influence is on full display as they rip through Robert Johnson’s classic, adding a decidedly electrified funk flavor to the mix. Reid showcases why his name should come up in any serious discussion about rock guitarists with scorching solos on this track as well as on “Program,” which speaks on the ills of a reality TV centric existence.

Hard to say enough about how well the band channels all of their influences from song to song on the album. On “Come On” you can hear the drum and bass influence on Will Calhoun’s drumming patterns, on “Pattern In Time” the feel is very Funkadelic (George Clinton himself drops by to add background vocals to “Two Sides” later on the album), and they do a full-on rock infused cover of the Notorious B.I.G.’s “I Shot Ya” while never feeling like they are stepping outside of their wheelhouse. On the latter they use the track to shine a spotlight on events like Michael Brown’s death, giving a decidedly more political spin to Biggie Smalls’ lyrics.

Unfortunately (for this reviewer) the album is missing the band’s great cover of The Jacksons’ “This Place Hotel” (aka Heartbreak Hotel) that was included on the Who Shot Ya mixtape released by the band earlier this year. However, we do get a great cover of Marvin Gaye’s “Inner City Blues” with spoken word poetry by Umar Bin Hassan sprinkled throughout.

Living Colour has seen a resurgence in mainstream popularity over the past few years as popular WWE wrestler CM Punk has used their signature song “Cult of Personality” as his theme music. On Shade, Living Colour has crafted songs that are just as catchy and powerful as “Cult” without sacrificing any of their artistic integrity by seeking a hit single. Shade is simultaneously accessible and uncompromising, which can be said about the lion’s share of the band’s work.

At times it’s hard to know how much you’ve missed something until you’ve had the chance to feel it again. Shade serves as a frank reminder that Living Colour is still one of the best bands doing it.

Reviewed by Levon Williams

The Chair in the Doorway

Posted on October 30, 2009 by aaamc

Title: The Chair in the Doorway

Artist: Living Colour

Label: MegaForce Records

Catalog No.: 020286137924

Release Date: September 15, 2009

Living Colour has just released its fifth CD project, The Chair in the Doorway, which highlights a plethora of musical styles that the band has mastered over the last three decades. This New York-based band, formed in 1983 by guitarist Vernon Reid, garnished industry attention in 1988 with their hit “Cult of Personality” from their debut album, Vivid. Since then, Living Colour has experienced a broad range of interest as a result of national and international touring, subsequent CD releases and their association with the Black Rock Coalition, a national organization devoted to complete creative freedom of Black artists, of which Vernon Reid was one of its founders.

The eleven tracks on The Chair in the Doorway highlight why Living Colour continues to be in demand by musicians and music lovers who defy the notion of artistic boundaries. While the lyrical content seems dark upon first listen, it is couched in a spectrum of expressions that warrants attention. For instance, “DecaDance” presents the story of moral decay as one climbs the ladder of success governed by a never-ending desire for more. This track has a typical rock sound, with power chords holding down the harmonic and rhythmic drive while a screaming guitar solo paints the image of corrosion amidst shallow abundance. “Method” creates a two-fold picture, seen from the perspective of one coming down from a drug high, as well as from one who evaluates the reality of social forces that conjure up chaos, yet also exist as an organic, rational, and expected dimension of life itself. The track flows like a hypnotic merry-go-round both lyrically and instrumentally, with its evasive yet committed rhythmic and melodic loops.

Following is a clip of Living Colour performing “DecaDance” at Leverkusen Jazztage Nov. 3, 2008:

“Bless Those” is a straightforward bluesy funk that plays on sacred/secular fluidity both in lyrical and musical structures. The climactic phrase “those that can go either way” in the hook positions “Bless Those” (or those blessed) within the parameters of human experience, wherein a constant identity struggle occurs. The hybrid structure of funk, blues, and rock in this track exemplifies such conflict and, ultimately, its resolution in musical terms. While “Bless Those” highlights the two-sided coin of human existence, the track also represents the totality of The Chair in the Doorway: at any given time, most, if not all, of us become manifestations of obstacles and entry points into the societal hierarchy that produces haves and have-nots, as well as the emotional baggage that comes with every status level. This project may not be for those on the edge, as it might push them over. It is, however, for those who recognize the inconsistencies, tribulations, and triumphs that are germane to life itself, and who wish to have a musical soundtrack that spells it all out.

Reviewed by Tyron Cooper