JULIAN LAGE - Arclight
Mack Avenue MAC1107
Julian Lage - guitar; Scott Colley - bass; Kenny Wollensen - drums & percussion
Julian Lage was a child prodigy, the subject of a 1997 documentary ‘Jules at 8’, and performed at the Grammys when he was 13, and is a regular in both Gary Burton and Eric Harland’s bands, so you’d expect a certain level of accomplishment from his fourth album as a leader, especially in such esteemed company as Scott Colley and John Zorn’s regular sticksman Wollensen. The record certainly doesn’t disappoint on that score - Lage has a stunningly assured and comprehensive technique, and easily holds the listener’s attention in what are predominantly live trio performances, though there are some subtle overdubs in evidence as well, such as the vibes quietly filling out the background on ‘Nocturne” and the bossa-tinged ‘Supera’. What’s more of a pleasant surprise is the variety and personality of the writing - the album opener ‘Fortune Teller’ has the perhaps inevitable tinges of Scofield’s particular brand of altered bluesey-fusion heaviness, but ‘Persian Rug’ is a jaunty swinger with a country tinge reminiscent of Hank Garland, ‘Stop Go Start’ is an abstract textural exploration, and “Activate’ uses chiming open strings to build up excitement before bursting into an Ornette-style rush of free swinging improv, to be followed by ‘Presley’, a melodic waltz that could easily be adapted into a hit by Norah Jones. Lage’s characteristic Fender Telecaster sound evokes Bill Frisell, and also that other great Zorn sideman, Marc Ribot; the familiarity with American popular forms of yesteryear such as the ragtime-flavoured “Harlem Blues’ recalls one of Wollensen’s other former employers, Tom Waits. The ease with which the trio switch between freedom and more popular forms recalls Zorn’s multi-faceted ethos, and without overlooking the superb playing of jazz maestro Colley it’s Wollensen’s genre-crossing drum work that really ties the record together. As well as being very well put together, this is a lot of fun to listen to - technically impressive without ever being overbearing or bombastic, accessible without being patronising, serious but with a light-hearted melodicism apparent throughout.
Reviewed by Eddie Myer
Mack Avenue MAC1107
Julian Lage - guitar; Scott Colley - bass; Kenny Wollensen - drums & percussion
Julian Lage was a child prodigy, the subject of a 1997 documentary ‘Jules at 8’, and performed at the Grammys when he was 13, and is a regular in both Gary Burton and Eric Harland’s bands, so you’d expect a certain level of accomplishment from his fourth album as a leader, especially in such esteemed company as Scott Colley and John Zorn’s regular sticksman Wollensen. The record certainly doesn’t disappoint on that score - Lage has a stunningly assured and comprehensive technique, and easily holds the listener’s attention in what are predominantly live trio performances, though there are some subtle overdubs in evidence as well, such as the vibes quietly filling out the background on ‘Nocturne” and the bossa-tinged ‘Supera’. What’s more of a pleasant surprise is the variety and personality of the writing - the album opener ‘Fortune Teller’ has the perhaps inevitable tinges of Scofield’s particular brand of altered bluesey-fusion heaviness, but ‘Persian Rug’ is a jaunty swinger with a country tinge reminiscent of Hank Garland, ‘Stop Go Start’ is an abstract textural exploration, and “Activate’ uses chiming open strings to build up excitement before bursting into an Ornette-style rush of free swinging improv, to be followed by ‘Presley’, a melodic waltz that could easily be adapted into a hit by Norah Jones. Lage’s characteristic Fender Telecaster sound evokes Bill Frisell, and also that other great Zorn sideman, Marc Ribot; the familiarity with American popular forms of yesteryear such as the ragtime-flavoured “Harlem Blues’ recalls one of Wollensen’s other former employers, Tom Waits. The ease with which the trio switch between freedom and more popular forms recalls Zorn’s multi-faceted ethos, and without overlooking the superb playing of jazz maestro Colley it’s Wollensen’s genre-crossing drum work that really ties the record together. As well as being very well put together, this is a lot of fun to listen to - technically impressive without ever being overbearing or bombastic, accessible without being patronising, serious but with a light-hearted melodicism apparent throughout.
Reviewed by Eddie Myer
