Jan Нammer Group

Michael Baryshnikov написал(а) к All в Mar 17 10:22:51 по местному времени:

Нello All!

Залит JanНammer_Group/(1976)_Oh_Yeah(LP)

Странно, что у нас не было этого диска...
Короче говоря - после развала первого состава Махавишну Оркестра, сам МакЛафлин ударился в Шакти, а остальная банда занялась собственными проектами, ВСЕ из которых оказались чрезвычайно удачными и в музыкальном и в коммерческом плане. Собственно вся история нам хорошо известна. Клавишник МО - Ян Хаммер тоже собрал свой состав и записал несколько альбомов, из которых этот ИМХО наиболее удачный.
В общем - слушайте классику американского фьюджна.
ВЕСЬМА РЕКОМЕНДУЮ!

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Oh Yeah!
Jan Нammer
Jazz Rock/Fusion, 1976
(c)Review by aglasshouse, PA

Mahavishnu Orchestra's first (and arguably most prolific) incarnation came to a painful end in 1973, as a sudden rise in popularity and a series of calamitous recording failures suddenly turned the great Mahavishnu into less of what they originally were into more or less the John McLaughlin Group. The band's original lineup, however, was so bursting-at-the-seams with talent and skill that it's members couldn't help but go on to form formidable solo careers -- Billy Cobham would traverse the jazz fusion path himself with Spectrum in 1973, and Jan Нammer, after collaborating with fellow musician Jerry Goodman, debuted his own solo material with The First Seven Days in 1975.

The album was well-received, and showcased the excellent skill Нammer obviously had. Нe continued on with the jazz-fusion shtick until the 80's, where he found himself composing film and television scores for such programs as Miami Vice. For the time being however Нammer really got in the swing of things and, not but a year later, delivered the facetiously titled Oh, Yeah? in 1976.

It's common for musicians to take an album or two to really get going, and get going Нammer did. Oh, Yeah? is a romp through some of the most thought-provoking and challenging sides of the jazz rock genre, whether it be the thumping bass/timbale combination of 'Bambu Forest', the eclectic and insane callbacks to Mahavishnu on 'Twenty One', or the driving openers and closers, 'Magical Dog' and 'Red and Orange', respectively. Almost every single song has something different to say in their own right, such as the throwing in of drummer Tony Smith's soulful vocals on 'One To One'. Jan Нammer and his band utilize an almost proto-80s synth culture to design Oh, Yeah? to be a sort of generational bridge that sits on neither side of the waters. A culture clash it may be, but it's a good one. Jan Нammer himself is the main pioneer in this regard, and with his effective use of a gamut of different synthesizing and keyboard effects it's easy to see why his more progressive electronic leanings make a greater impact than the likes of new age artists like Jean Michel Jarre did.

Towering and powerful, Oh, Yeah? is a can't-miss album, not only of the jazz fusion genre but of 70's music in general. It is the definition of a passion-project and is justly the penultimate release of Нammer's career.
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Инджой!
WBR, Michael Baryshnikov.

--- wfido