Post by jptheprofessor on Apr 13, 2008 21:23:00 GMT -5
COOTIE BROWN – MELTDOWN (Breeze Records) Calling both State College and Burlington, Vermont home, Cootie Brown last fall simultaneously issued a trilogy of full-length CD’s. Each of the three discs; Meltdown, Cootie Brown Strikes Back and Out of the Bleu; reflects a different stage of the group’s development. Representing the group’s formative stage is Meltdown. Guitarists Ryan Alford and Matt Fern, keyboardist Jordan Thompson, woodwind player Michael Fortunato, Brian Eckert on bass, didjeridoo and djembe, Jim DeVoss on drums and Jacob Haqq-Misra on percussion perform a freewheeling, adventurous amalgam of mostly instrumental jam band sounds informed by rock, funk and reggae. The disc’s nine tracks provide plenty of musical thrills, chills, twists and turns, as Cootie Brown delivers off-the-wall grooves from a variety of angles. The album starts with a mild jazz vibe on “Focus,” before stepping up the funk on the harder-driving “Cootiechasm.” Although clocking in at a whopping 17-plus minutes, “Universe” – recorded live on Penn State student radio station WKPS “The Lion” 90.7 FM – is infectious and fun as the group rides an addictive funk/reggae groove for all it’s worth, improvising various solos and instrumental nip-and-tuck along the way. “Brutus, Part II” funks out in a spacier 70’s vein, before “Gravy Groove” splits time between playful funk and uptempo rock textures; leading to the agitated workout “Modulator.” “Mudpuppy” plays with a darker, backwoodsy flavor; while didjeridoo tones provide outback-tinged bookends to the Latin percussive- and woodwind-charged workout “Runway.” “Give It Up” provides the album’s feisty funk finisher. Meltdown is constantly lively, as Cootie Brown explores and defines their musical terrain, eagerly experimenting with their instruments and riding the playful grooves to their ultimate destinations. The overall vibe is loose and fun, and the group never takes things too seriously here. The production mix is basic, capturing the raw feel and spontaneity of the moment without polish or needless clutter. Meltdown depicts an adventurous band throwing caution to the wind, and sets the initial foundation for Cootie Brown to explore and launch further musical adventures. (The CD can be purchased through the group's website, www.cootiebrown.net.)
COOTIE BROWN – COOTIE BROWN STRIKES BACK (Breeze Records) On the second album of their three-disc trilogy released last fall, Cootie Brown Strikes Back, Happy Valley/Vermont combo Cootie Brown takes the lively jam/funk/rock foundation established with their Meltdown set and stretches and expands upon it. The seven-man, one-dog roster demonstrates an evolution from single groove adventures into more complete song ideas; and they expand their musical scope as well, with elements of rock, hip-hop and Caribbean sounds freely infiltrating their funk/jam frontier. The album features its share of funk-jamming workouts, including the practice improv jam “Egg Roller,” the woodwind-geared “Wonder,” and the more urban-tinged “Snaggletooth” and “Redd Foxx.” Cootie Brown crafts an island-flavored excursion on “Solstice,” delivers a spacier and more atmospheric arrangement on “Degaba,” and infuses “Little Green Monster” with a prominent reggae flavor. Perhaps the centerpiece of the album is the funk-rocking jam “Dakota,” an ode to the group’s canine band member, who contributes some vocals along the way, including some howls over a didjeridoo-driven midsection. And the album finishes with a faster rock flavor on the curiously-titled “Bo Diddley” (which doesn’t appear to have any connection to the legendary 50’s rocker). The playing sounds a little tighter and more focused, although the group still keeps it playful and sounds like they’re having fun along the way. Overall, the jams seem to have more direction and purpose, and the solos serve the melodies and plots of the compositions more. Again recorded in Happy Valley and Vermont locations, the production lets the band and its components do the talking, without cluttering the mix with unnecessary embellishments. In the context of Cootie Brown’s three-disc trilogy, Cootie Brown Strikes Back illustrates growth and progress in the group’s compositions and arrangements, while showing that they can still be freewheeling and adventurous. (The CD can be purchased through the group's website, www.cootiebrown.net.)
COOTIE BROWN – OUT OF THE BLEU (Breeze Records) On the first two albums of their three-disc trilogy issued last fall, State College/Vermont-based septet Cootie Brown progressed from funky groove-based jamming to more structured compositions and arrangements; maintaining a fun and adventurous spirit through it all. On the final chapter of the trilogy, Out Of The Bleu, Cootie Brown has matured towards a jazz-geared style and sound. Their compositions are even tighter and more compact, and the group has elevated the level and maturity of their overall musicianship. The album title itself references the venue – State College’s Bar Bleu – where the group honed their jazz chops. Over the album’s eight mostly instrumental tracks, Cootie Brown smoothly executes on a variety of jazzy styles. They offer a light and airy shuffle on “Coffey Break,” improvise along a Dave Brubeck “Take Five”-like 5/4 meter on “Brutus,” and conjure a New Orleans-meets-swing vibe on “Dirty Duds.” The group doesn’t completely abandon their earlier funk and jam tendencies, though. They mix funk and jazz flavors on “The Cat’s Pajamas” and the punchier title track closer “Out of the Bleu.” And they still stretch out, jam and improvise on the Grateful Dead/Steely Dan-flavored “Grind” and the blues/jazz excursion “Say What?” Cootie Brown raises the bar of their performance on this set, with drummer James DeVoss, sax/flute player Michael Fortunato and keyboardist Jordan Thompson especially elevating their game with spirited, tasteful playing and colorful interaction on their instruments. While the overall presentation is tighter and closer to the vest, these musicians still sound like they’re enjoying themselves; but now with more confidence and a greater sense of control. Again, the sound mix allows the instruments to speak, with the players’ own improved skill levels smoothing some of the rougher edges displayed on the earlier two discs. Out Of The Bleu successfully caps the three-album evolutionary story of Cootie Brown, showing that although they have progressed, grown and expanded their musical vocabulary into jazz, they still show a sense of adventure, and leave the door open to more possibilities for their musical creativity. (The CD can be purchased through the group's website, www.cootiebrown.net.)
COOTIE BROWN – COOTIE BROWN STRIKES BACK (Breeze Records) On the second album of their three-disc trilogy released last fall, Cootie Brown Strikes Back, Happy Valley/Vermont combo Cootie Brown takes the lively jam/funk/rock foundation established with their Meltdown set and stretches and expands upon it. The seven-man, one-dog roster demonstrates an evolution from single groove adventures into more complete song ideas; and they expand their musical scope as well, with elements of rock, hip-hop and Caribbean sounds freely infiltrating their funk/jam frontier. The album features its share of funk-jamming workouts, including the practice improv jam “Egg Roller,” the woodwind-geared “Wonder,” and the more urban-tinged “Snaggletooth” and “Redd Foxx.” Cootie Brown crafts an island-flavored excursion on “Solstice,” delivers a spacier and more atmospheric arrangement on “Degaba,” and infuses “Little Green Monster” with a prominent reggae flavor. Perhaps the centerpiece of the album is the funk-rocking jam “Dakota,” an ode to the group’s canine band member, who contributes some vocals along the way, including some howls over a didjeridoo-driven midsection. And the album finishes with a faster rock flavor on the curiously-titled “Bo Diddley” (which doesn’t appear to have any connection to the legendary 50’s rocker). The playing sounds a little tighter and more focused, although the group still keeps it playful and sounds like they’re having fun along the way. Overall, the jams seem to have more direction and purpose, and the solos serve the melodies and plots of the compositions more. Again recorded in Happy Valley and Vermont locations, the production lets the band and its components do the talking, without cluttering the mix with unnecessary embellishments. In the context of Cootie Brown’s three-disc trilogy, Cootie Brown Strikes Back illustrates growth and progress in the group’s compositions and arrangements, while showing that they can still be freewheeling and adventurous. (The CD can be purchased through the group's website, www.cootiebrown.net.)
COOTIE BROWN – OUT OF THE BLEU (Breeze Records) On the first two albums of their three-disc trilogy issued last fall, State College/Vermont-based septet Cootie Brown progressed from funky groove-based jamming to more structured compositions and arrangements; maintaining a fun and adventurous spirit through it all. On the final chapter of the trilogy, Out Of The Bleu, Cootie Brown has matured towards a jazz-geared style and sound. Their compositions are even tighter and more compact, and the group has elevated the level and maturity of their overall musicianship. The album title itself references the venue – State College’s Bar Bleu – where the group honed their jazz chops. Over the album’s eight mostly instrumental tracks, Cootie Brown smoothly executes on a variety of jazzy styles. They offer a light and airy shuffle on “Coffey Break,” improvise along a Dave Brubeck “Take Five”-like 5/4 meter on “Brutus,” and conjure a New Orleans-meets-swing vibe on “Dirty Duds.” The group doesn’t completely abandon their earlier funk and jam tendencies, though. They mix funk and jazz flavors on “The Cat’s Pajamas” and the punchier title track closer “Out of the Bleu.” And they still stretch out, jam and improvise on the Grateful Dead/Steely Dan-flavored “Grind” and the blues/jazz excursion “Say What?” Cootie Brown raises the bar of their performance on this set, with drummer James DeVoss, sax/flute player Michael Fortunato and keyboardist Jordan Thompson especially elevating their game with spirited, tasteful playing and colorful interaction on their instruments. While the overall presentation is tighter and closer to the vest, these musicians still sound like they’re enjoying themselves; but now with more confidence and a greater sense of control. Again, the sound mix allows the instruments to speak, with the players’ own improved skill levels smoothing some of the rougher edges displayed on the earlier two discs. Out Of The Bleu successfully caps the three-album evolutionary story of Cootie Brown, showing that although they have progressed, grown and expanded their musical vocabulary into jazz, they still show a sense of adventure, and leave the door open to more possibilities for their musical creativity. (The CD can be purchased through the group's website, www.cootiebrown.net.)