NICOLAS MEIER – Infinity
Favored Nations FN2870
Nicolas Meier – acoustic fretless and fretted nylon string and steel string guitars, glissentar, baglama, synth guitar and electric guitars, Vinnie Colaiuta -drums, Jimmy Haslip – bass with guests, Richard Jones -violin, Sally Jo -violin, Lizzie Ball- violin, Gregor Carle- guitar.
Recorded in Los Angeles, September 26th & 27th 2015 with overdubs added in Guildford (UK) in October 2015.
This is the third Nicholas Meier disc I’ve had the pleasure of reviewing and as exciting as my previous encounters were, I detect a distinct upping of the temperature on this latest release. This probably has something to do with the presence of two session hardened fusionists on electric bass and drums who lift Meier’s breath-taking virtuosity to even greater levels of drive and energy. This much is evident when one compares the version of `Kismet` performed in this set with that in his eponymous 2013 album. Without detracting any kudos from the original, the latest incarnation has a much heavier jazz -rock feel imparting a palpable urban edge. Not surprising when you consider his sides men’s antecedents: Colaiuta, ex Zappa and Haslip, Yellowjackets, as well as countless sessions in rock and pop genres.
All Meier’s musical predilections are on display here, his love of Turkish and Middle Eastern forms wedded to flamenco and tango, all filtered through his allegiances to jazz-rock and heavy metal modes which are all brought together with total conviction in the seamless unity of the world’s music. In addition to the core trio, as in previous albums, Meier adds a violin counter melody to most tracks and employs various fretless instruments in the realisation of his ethnographic aims and to serve the moments of serenity and reflection that surface from time to time. It is, however, the spirit of Jeff Beck and John McLaughlin that prevails overall, the former having had a recent working relationship with Meier and to whom one of the pieces is dedicated and the album closes in a heavy metal flourish with a number dedicated to ZZ Top lead guitarist, Billy Gibbons (recently the victim of a malicious on-line obituary hoax) which again makes a nod in the direction of Beck’s ferocious style.
Given the rock music emphasis this could be Meier’s most commercial recording to date and if that serves to bring his huge talent to the attention of a wider audience, surely it will be no bad thing.
Reviewed by Euan Dixon
Favored Nations FN2870
Nicolas Meier – acoustic fretless and fretted nylon string and steel string guitars, glissentar, baglama, synth guitar and electric guitars, Vinnie Colaiuta -drums, Jimmy Haslip – bass with guests, Richard Jones -violin, Sally Jo -violin, Lizzie Ball- violin, Gregor Carle- guitar.
Recorded in Los Angeles, September 26th & 27th 2015 with overdubs added in Guildford (UK) in October 2015.
This is the third Nicholas Meier disc I’ve had the pleasure of reviewing and as exciting as my previous encounters were, I detect a distinct upping of the temperature on this latest release. This probably has something to do with the presence of two session hardened fusionists on electric bass and drums who lift Meier’s breath-taking virtuosity to even greater levels of drive and energy. This much is evident when one compares the version of `Kismet` performed in this set with that in his eponymous 2013 album. Without detracting any kudos from the original, the latest incarnation has a much heavier jazz -rock feel imparting a palpable urban edge. Not surprising when you consider his sides men’s antecedents: Colaiuta, ex Zappa and Haslip, Yellowjackets, as well as countless sessions in rock and pop genres.
All Meier’s musical predilections are on display here, his love of Turkish and Middle Eastern forms wedded to flamenco and tango, all filtered through his allegiances to jazz-rock and heavy metal modes which are all brought together with total conviction in the seamless unity of the world’s music. In addition to the core trio, as in previous albums, Meier adds a violin counter melody to most tracks and employs various fretless instruments in the realisation of his ethnographic aims and to serve the moments of serenity and reflection that surface from time to time. It is, however, the spirit of Jeff Beck and John McLaughlin that prevails overall, the former having had a recent working relationship with Meier and to whom one of the pieces is dedicated and the album closes in a heavy metal flourish with a number dedicated to ZZ Top lead guitarist, Billy Gibbons (recently the victim of a malicious on-line obituary hoax) which again makes a nod in the direction of Beck’s ferocious style.
Given the rock music emphasis this could be Meier’s most commercial recording to date and if that serves to bring his huge talent to the attention of a wider audience, surely it will be no bad thing.
Reviewed by Euan Dixon
