FunkFreak75
An interesting album from creative composer and keyboard experimentalist Marc Moulin on which he surrounds himself with a group of competent musicians--including a full "big band" contingent of horn players--in order to manifest the full blown, three-dimensional explorations of his compositions--many of which feel like outward explorations of his own mental musical brain-teasers.
1. "Inner City Blues" (5:10) an awesome cover (and tribute) to one of the greatest artists and albums of the 1970s. The piano is not recorded very well, but the instrumental palette and unusual vocal performances (and engineering) by Guy Theisen are worth every penny spent on recording this one. (9.125/10)
2. "Planes" (3:01) jazzy and creative instrumental jazz-rock with interesting structure and experimental keyboard sounds and solo styling. Perhaps a little too mathematical and, therefore, simplistic in its construct, it is still quite interesting. (8.75/10)
3. "You Got Me Hummin'" (6:12) piano musings and mental (mathematical) experimentations accompanied by metronomic horns, drums, and bass. Again, this is interesting from a mathematical perspective. The sudden appearance of Guy Theisen's David Clayton-Thomas (Blood, Sweat & Tears)-like scratchy male vocal at 2:20 comes as quite an unexpected surprise. The bass and horn accents get a little funkier after Guy's first go-round, but the song plays out quite like a B,S & Tears song. (8.75/10)
4. "Humpty Dumpty" (2:35) this one has the lightness and sound palette of an early Canterbury Style song (shades of future COS) while the horn section provides accents and counterpoint to Marc's treated electric piano musings. (8.875/10)
5. "Aria" (4:48) This sounds very much like a continuation or variation on the music and theme of the previous song-- using the exact same instrumental sound palette with perhaps a little more creative freedom and volume given to Nick Kletchkovski's excellent bass play and a different timbre coming from the now-reed/woodwind-dominated horn section. Marc's electric piano is still ubiquitous--and he plays a wicked clavinet solo in the fourth and fifth minutes--but I like the dominance of the horns as the presenters of the main melody and several of the front-and-center solos. (9/10)
6. "Showbiz Suite" (7:28) more explorations of the typical Dave Stewart Canterbury sound palette with pretty cool horn arrangements jumping off of Marc and Nick's fairly constant one-chord bass anchor. Here Marc is definitely experimenting with several synthesizer sounds as well as a variety of effects applied to his electric piano. The thing that makes this special--exciting and interesting--is the looser, freer expression coming from all directions: Freddy Rottier's drumming is more enthusiastic and creative, as is Nick's bass play and several of the brass and reeds corps. The three movements of the suite are quite distinctive from one another: each driven by Marc's left hand chord play on his warm electric piano. Too bad the recording of the horns is so scratchy (bad mics?: all of the plug-in instruments seem fine). The group horn arrangement in the final movement is very similar to the style American band Chicago was (13.25/15)
7. "Balls Of Eyes" (2:02) Marc's solo piano musing here sounding like something Thelonious Monk might do just for practice or amusement. (4.25/5)
8. "Oh La La" (1:01) sounds like an excerpt from a live performance in which some full choir is singing over the band's Latin-infused big band Rockabilly. (4/5)
Total time: 32:17
B/four stars; a nice display of musical musings that are imitative variations on common Jazz-Rock and early Canterbury Style sounds, songs, and structures.
