Gymnast of music

Press, 13 August 1980, Page 15

Gymnast of music

Light and jazz

Peter Brittenden

The musical gymnastics of the American, Al Jarreau, have only recently become known to New Zealand jazz enthusiasts, but for several years now Jarreau’s singing and arranging have been widely recognised in Europe. Jarreau could be described as a thinking man’s Stevie Wonder, but that would be unfair to both. His free-ranging voice may be similar to Wonder’s; the complex arrangements, high-class session musicianship, and type of lyric ensure that Jarreau’s records and concerts are not to be compared—with anyone. A fair indication of the class of a singer is the quality of backing musicians. Oh Jarreau’s “This Time” album some of the best session musicians in the United states make fleeting appearances. ■ The three drummers are among the most respected, on America’s West Coast —Ralph Humphrey, Carlos Vega, and Steve Godd. The bass player, Abe Laboriel, who lays down extremely complex and appropriate bass, figures, is . equally well known and has featured on some very popular records in the last two years. The rest of the instrumentalists are very competent. The guitarist, Earl Klugh; the pianist, Tom Canning; and the horn players, Jerry Hey, Chuck Findlay, and Bill Reichenbach, all add a punchy backing to Jarreau’s superb singing. Jarreau’s lyrics, mainly dealing with the basics of life—pain and pleasuremake interesting listening. Though his songs could be taken for plain and simple ballads, complex arranging of each line and unusual chord progressions take his music beyond that. His voice is extremely agile and is highlighted by what should probably be called scat singing but is much more intricate than the wordless choruses of the jazz vocalists of previous eras. Jarreau creates sounds with his voice that are unique. Jarreau records for Warner Bros. St sjt &

In contrast, the sound of the Manhattans on their “After Midnight” album is typical. 1980 s syrup. Talk about 'chalk and cheese. Employing large - scale orchestral backing and that slow-motion disco style which is very popular with the swinging early 20-year-

olds, the Manhattans ease their way through a very smooth set. The vocals are full of melody, quite interesting harmony, and harmless Ivrics, but the over-a'll effect is soporific.- The stimulating effect of Jarreau is not matched on this record. Probably the pick of the tracks is the Estelle EevittJerry Ragavoy composition, “Cloudy, with a Chance of Tears.” Here double tracking and slick harmony make a more interesting combination . than in some of -the other selections. "After Midnight” is recorded by C.B.S. sic . *

Two locally - produced band records , are sure to appeal to the traditionalists. The City of Invercargill Caledonian Pipe Band is world renowned, and a listen to the stirring pipes makes it easy to understand why. The band, the earliest pipe band in the Southern Hemisphere, won the New Zealand chamiponship this and last year and has toured America. Included in the selection are plenty of traditional jigs! reels, and marches. Moving stuff, indeed. New Zealand is well known for its successful brass bands, and' to celebrate 100 years of this type of music the best bands and soloists in the country gathered to record seven well-known titles. The national champions, the Skellerup Woolston Band, play Malcolm Arnold’s Padstow Lifeboat in fine disciplined style. Tchaikovsky’s Capriccio Italien was recorded live in the United States during the 1965 tour of the National Band of New Zealand. This record is a fine collection of some of the best of New Zealand’s brassband music. Both records were released by Kiwi/Pacific records.