As you can probably figure out by my name, I am a HUGE jazz fan (yes I know this is only the second jazz album I have reviewed) but that is mainly my fault, you have to work harder to find new (quality) jazz than hip hop, because as we all know everyone is either an MC or producer, but how many people play jazz. Now don't get me wrong there are tons of great jazz artists out there making incredible albums, but I often miss them (my fault I know.) So I was glad that I found out about Todd Clouser and his album "A Love Electric," actually scratch that, I was ecstatic. I found a jazz artist (who I hadn't heard of before) who was making quality jazz and wasn't your "traditional jazz" (won't go on giant rant about certain well known trumpet players bastardization of what is jazz and what isn't.) Add to that the diversity the band has and the ambition to show it on one album (probably making it harder to classify for those who want to put everything in their subgenres,) but enough of my introduction rambling, you want to know exactly what I mean, so here it goes.
A few gentle strums on the guitar, mixed with calm and peaceful trumpet begin "Serenity Now" before the drums kick in. Don't get me wrong this isn't a "smooth jazz" track, but it certainly is one of the more relaxed tracks on the album that is until about half way through when it really begins to breathe and the exploration truly begins, both by trumpets and by Clouser on the guitar, this explosion only lasts for a bit over a minute before falling back into the chorus of sweet rhythms.
If the middle section of "Serenity Now" was too much for you (first I feel sorry for you) then skip right over "Meet Me at the Polo Grounds," however if you want to hear some of the best fusion music I've found in recent memory then pay close attention. It begins as a duet between guitar and trumpet, but could just as easily be called a duel as the two try to out do each other in a exciting exchange, with the drums acting to keep both somewhat anchored, but don't worry they have no trouble finding an incredible electrical happy place, I automatically think of the work that Miles Davis and John McLaughlin did together on "A Tribute to Jack Johnson," and then just for fun they throw in some incredible work on the Rhodes, I seriously, cannot stop going back to this song and listening to it, once I heard this I realized the album was something pretty damn special.
Clouser and his band decide to bring the funk and bring it hard on "Curtis" (what I can only assume is a tribute to the great Curtis Mayfield, but I've been wrong before.) This time everyone decides to work together to create one of the funkiest jazz based rhythms I've heard in a while. Once again, the group switches up a song midway through, creating a totally different feel as it turns into more of a soul track before transforming back into some hard funk, which further makes captures the spirit of Mayfield.
If bluegrass and fusion came together and had a child, that child would be "Bobby White in the City." You have the Rhodes and drums creating that classic fusion sound, while the guitar and trumpets play in the upper register making it sound like some great guitar picking, a rather unusual mixture, that surprisingly works out tremendously. It is fascinating to me because it almost seems like there are varying time signatures in the song but I think it is just the speed and pitch of the guitar and trumpet it challenges you to decipher the just what is going, it really is an incredible piece that you need to check out.
On "The Habit Kick" the intro makes you feel like you're in a church with the Rhodes sounding like an organ, until everyone else joins in the song opens up. Maybe I am being persuaded by the title of the song, but it gives the sensation of a struggle for ones own self, as the instruments are at once working together to create a single sound but battling for position, some fading as others move to the forefront. At one point or another every instrument plays solo, but just as quickly more join in to add to the complexity and the intentional unbalanced sound that some how works itself out as each player find their place in the song. I cannot get over how much this track and the album is blowing me away, such a breath of fresh air and such diversity, searching for that perfect sound, pure exploration, which is how I love my instruments to sound.
Todd Clouser and the rest of the group show their ability to change up the pace dramatically on "Jimena" a track that begins by really showcasing Clouser's ability on the guitar, with muted bass, keyboards, and drums behind him, as he pour his soul into the music, it is a heart wrenching couple of minutes where you wonder what is causing such sadness. Midway through trumpets enter and the guitar becomes a bit less solemn, but not much as the two work together to express these feelings of pain or at least longing. Thoroughly impressive considering the in your face sound of previous tracks.
The band picks up the pace a bit on "Little Number" a fun rock sort of song, that you would imagine a guitarist picking up a their guitar and saying, here's a little number a created, tell me what you think. If you put someone like Jack White on vocals on this track, it would be climbing up the charts, it just has that feeling like it is a familiar song that you never heard before. Easily the most infectious track on the album.
"Border at Pachacan" begins with just Clouser on the guitar sounding like a straight ahead rock n roll track, but as the trumpet, drums, and keyboard join the track morphs into a very Latin rhythm and style. Throughout this time Clouser does not change his sound at all, but as each piece is added the sound is realized, it is a fascinating look at how the band isn't about one player but the group as a whole. Of course though, when it is time for Clouser's solo the Latin sound shines through and when the other instruments get their solo, they do not disappoint either.
Leaves falling off the trees, a gentle cool breeze, these are some of the images that come to mind when you hear "Autumn City Portrait." The major brush strokes are offered up by both trumpets first and then keyboards, with guitar and drums in providing a bit of the background and structure. The whole song has a great earthy feel to it, feeling warm and inviting, but never boring.
A reinterpretation of the classic Three Dog Night song, "One" comes next. It is always risky to do a jazz version of such a beloved song, often times they fall flat on their face, either because they try to copy it exactly like the original or deconstruct it so much that it is no longer remotely recognizable, luckily Clouser and his group toed the middle ground beautifully. Keeping the general sound and feel of the original while letting the musicians take the music places it has never been before, excellent example of how to do this correctly without pissing people off.
Easily one of the highlights of the album for me comes with "Brass Suite 1970" because of the unique sound created, especially at the beginning, it reminds me of Roscoe Mitchell's percussion cage, with a soulful electric guitar and Rhodes playing off the sound to form an incredible funky sound. Then after laying a strong foundation, Clouser takes off on his guitar while adding a bit of distortion to give it that 70s fusion feel and the Rhodes joins in to complete the picture. I am actually bouncing along to the music as I type this, it gets into your soul and moves you.
The only vocals on the album appear on "Mo City Kid" a great bluesy sounding jazz song. The vocals sound almost as if they are playing through the radio while everyone else is in your headphones, which works amazingly for such a track, when done correctly. One of the more unique features of the song is how each instrument enters for what seems like a moment or two and then disappears only to reappear again, almost like it is in a loop, keeping the listener on their toes.
To finish off the album, the group performs one of the most beautiful and powerful songs ever written, "Hallelujah," they do nothing unusual to the track, just play it rather straight ahead, and to me, it is really the only way it should be done. At no time do I find myself wishing there were lyrics (we know them) but this really lets the listener focus on the incredible melody and feeling without being influenced by any specific singers voice.
On "A Love Electric" Todd Clouser created a great album, that showcases just some of the many sounds of jazz music, he plays some wonderful ballads, Latin jazz, but what really shines to me is the band's ability to play fusion. Now recently it seems like fusion has become a dirty word in the jazz community and a style that few artists want to play (The Bad Plus being a major exception) and I do not know why this is the case (I of course have my theories that could fill a few blog entries themselves) but I am glad to see that Todd Clouser and his fellow musicians are not afraid to show us the fusion of jazz and rock reminding us of how great it can be when done correctly, as they do it here. But it isn't just the fusion, it is all the styles on the album and how each musician is given room to breathe and explore. So if you are like me and have been missing some new quality jazz, especially of the fusion variety you need to check out "A Love Electric."
You can stream and download the album here
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