Fresh off last year’s Grammy nomination for his compilation “Now is the Time,” keyboardist, composer and producer Jeff Lorber has wasted no time in returning to the studio; his follow up CD entitled “Galaxy” was released on January 31st.
The CD has 11 cuts deep and it explores new and refreshing
beats as well as Jeff’s fans can also expect to hear four old songs that he has
revived.
On this new compilation, Jeff has gotten a little help from
other powerful musicians including Jimmy Haslip, bassist with Yellowjackets as
well as sax player Eric Marienthal, percussionist Lenny Castro, trumpeter Randy
Brecker, guitarists Paul Jackson Jr. and Larry Koonse and on drums are Vinnie
Colaiuta and Dave Weckl.
The music on the current CD is fusion music, a signature
style that Jeff has successfully won over the audience with time and again at
live performances and through his recordings.
There is a lot of energy in the music this time around
starting off with the first track called “Live Wire.” “Live Wire” runs for
seven minutes and it cleverly marries house music with contemporary jazz music.
“Big Brother” has a smooth sound achieved by Jeff’s delightful keyboard
arrangement which takes front and center stage particularly on this track. The
sound of the piano does not outshines the rest of musical instruments though;
it actually is a nice addition against the upbeat and finger-snapping
arrangement.
Listen for “Montserrat”, a
track that is a strain of the Police’s 1980’s hit called “When The World is
Running Down, You Make the Best of What’s Still Around.” Elsewhere on the CD is
the festive and lovely “Singarara”, a track that features a clever mix of
contemporary jazz meets a hint of salsa. There is a tribute to Horace Silver on
a track simply titled “Horace”. Jeff credits jazz pianist Horace as the man who
has inspired him to play. Later on the CD, Jeff adds some futuristic grooves to
make old favorites come alive the way he did "Wizard Island,"
"City," "The Samba" and "The Underground."
I spoke to Jeff about his latest CD recently:
AB: Kudos on your new CD Jeff. I remember the last time we
spoke we were talking about the CD “Now is the Time” and now here we are again
on what seems like just a few months from that time. Did this new CD really
come together that quickly?
JL: I think a lot of it happened around a year ago, we did a
lot of the recording in December of 2010; we finished the CD over four to six
months.
AB: Within that short of space of time how did you get all
those in-demand musicians to come together at such short notice?
JL: (laughs). Well, luckily for me there are so many great
players in Los Angeles
and without a doubt one of the finest drummers is Vinnie Colaiuta who is very
versatile and I was very lucky to get him. Musically, he has a wonderful sense
of time and in a way that is the foundation; once you get good little tracks
and drums, it’s good.
Basically there are just some fantastic players in town;
there is Eric Marienthal, Paul Jackson Jr. who is funky. Then there is Michael
Thompson who specializes with effects and he can get those effects sounds out
of his music because he uses different styles of effects.
Larry Koonse is more or less a straight ahead soloist; we
actually didn’t look to him for rhythm or support but he shines. For the most
part, some of the guys that I used this time around have been on my “Now is the
Time” record. I haven’t worked with Vinnie in years, I worked with Eric a lot
and also started using Jimmy more and more. I also knew some of the other guys
since moving to LA and have a history working with Paul Jackson Jr. since he
was a teenager.
Larry is relatively new and I recommend him and have used
him on my last record.
AB: You have done fusion music for years and it has become
one of your more signature styles. I remember some fusion styles being on the
last CD as well. Why did you decide to go down this musical road again.
JL: Everybody was kind of happy with the results of the “Now is the Time” record and the audience
we were playing for liked the music and the idea of bringing back fusion music.
Fusion music is energetic and adventurous harmonically and melodically. On the
last record we had some vocals and a few songs that were on the R&B
direction. This time around we are offering a more focused record with exciting
and music.
AB: Describe the type of fusion that you have experimented
with on the latest CD.
JL: We used a lot of electrified jazz which is energetic. However,
the focus is not so much on the sounds as much as it is on the writing the
rhythm; the soloing, the feel of the groups and the interactions performing the
song.
AB: What is your overall view about this new CD?
JL: To be honest with you and I’m sure every artist says
this but this is one of my favorite records. I have been listening to it a lot
and enjoying it.
AB: Do you have a personal favorite?
JL: “Montserrat” is my
favorite. Of course there are some songs on there that we reinterpret. I’m
really excited about the new music. The older ones have been underground for
quite a few years and this was a way to document how it has evolved over the
years.
AB: Let’s talk about some of the tracks on the CD. The first
track “Livewire” is very upbeat and high energy stuff.
JL: It definitely has a house music feel with a European
kick drum kind of the characteristic of dance music. Michael (Thompson) plays
incredible, he is the sound guy but he plays an exciting sort of very electric
kinds of sounds that makes the instrument sound more like a synth than a
guitar. Then there is Vinnie who plays the drums and its spontaneous and
inspired and that keeps it exciting. I think “Limewire” lends towards
electronic music. I think melodically from the songwriting standpoint it is
pretty solid. People like that.
AB: What about the older tracks on here?
JL: “Wizard
Island” is a big favorite
as well. It has a great melody and people ask for it all the time. “The Samba”
has been popular in Europe and sampled in
remixes; the original version featured Chick Corea. “City” is a fun song that
has an interesting melody and groove and of course there is “The Underground.”
I have learned so much since I recorded those songs originally. I did not have
the musicians of this caliber to work with at the time so we give the songs a
fresh coat of paint to reinterpret them.
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