Track listing
Show track credits
- 1 Vog 6:40
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drums
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- 2 Pacifica 4:25
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drums
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- 3 Gloria Ascending 6:00
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drums
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Gloria Troppvocals
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- 4 Pineapple 3:56
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drums
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- 5 Quest 6:35
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drums
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- 6 Freelance Brown 6:31
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drums
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Michelle Johnsonvocals
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- 7 Slow Blues for Fuzy's Mama 6:50
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drums
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- 8 Lillies That Fester... 4:25
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drums
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Michelle Johnsonvocals
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- 9 122 St. Marks 5:17
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drums
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- 10 Fima's Sunrise 6:08
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drums
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- Total length: 56:47
Rate/Catalog
Catalog
Set listening
Review
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4 Reviews
The good songs (Vog, Pineapple, and 122 St Marks) are really good. However, they violate the cardinal sin of allowing vocals in fusion songs. Not just vocals, but full-on crazy-lady from a 70's B movie singing jazz vocals.
No one likes that. No one.
No one likes that. No one.
Published
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Would it be rhetorical if I were to ask why tech-fucks make such obnoxious music?
Published
This album does have the tendency like Medeski, Martin, and Wood to sometimes fall into free form funk noodling, rendering a few of the songs kinda unmemorable despite good playing. But this album has a little more of a jazz rock edge to it, and on songs like "Vog", "Fima's Sunrise", and "Freelance Brown" they seem more focused in on some challenging material. The last of those is based on the first song on Miles Davis' _Filles de Kilimanjaro_, and is a clever take on the great avant-funk jazz original. To Fiuczynski's credit, he balances his occasionally aggressive guitar style with a sense of adventure and humor - "Slow Blues for Fuzy's Mama" sounds like a send-up of hot-shot guitar work (Jeff Beck, Jimmy Page, Allan Holdsworth). The female vocalists jazzy/soul performances are certainly competent, although not a major factor here. It does help this to come off a bit like Frank Zappa's avant-garde jazz/rock at times.
This sound isn't a radical standout from other similar crossover efforts in the '90's, but Fiuczynski and Medeski's eclectic background make this more accomplished than average. To me it's a little more compelling than Medeski, Martin, and Wood, and is more like Medeski's other quality work outside his most visible group.
This sound isn't a radical standout from other similar crossover efforts in the '90's, but Fiuczynski and Medeski's eclectic background make this more accomplished than average. To me it's a little more compelling than Medeski, Martin, and Wood, and is more like Medeski's other quality work outside his most visible group.
Published
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