Steam

構成数 : 1枚
合計収録時間 : 01:00:11
Soft Machine Legacy: Hugh Hopper, John Etheridge , John Marshall , Theo Travis. Personnel: John Etheridge (electric guitar); Theo Travis (flute, soprano saxophone, tenor saxophone, loops); Hugh Hopper (bass guitar, loops); John Marshall (drums, percussion). Audio Mixer: Jon Hiseman. Recording information: Temple Studios, Surrey, England (12/28/2006-12/30/2006). Photographer: Naoju Nakamura. Listeners might be justifiably wary of a band with the word "Legacy" in its title, perhaps surmising that the group in question might be rooted a bit too strongly in the past. And in the case of Soft Machine, the group at its very best -- during the late '60s and early '70s -- confounded listeners by breaking from its own past with each album release, arguably throwing out its own nascent legacy (not to mention bandmembers) on a continual basis. In that sense, one might conclude that this 21st century band featuring Softs alumni might best capture some of the earlier group's spark and spirit by ignoring the legacy question entirely. Of course, the issue is one of balance, building on a foundation of great music even if that music is decades old, while continuing to chart new directions that are exciting and unpredictable in the present moment -- and that's exactly what happens on Steam, Soft Machine Legacy's 2007 release on MoonJune Records. Bassist Hugh Hopper, drummer John Marshall, guitarist John Etheridge, and saxophonist/flutist Theo Travis (in the difficult position of stepping into the spot formerly occupied by sadly departed saxman Elton Dean) are mindful of Soft Machine's history, and the listener certainly hears echoes (literally) of the Softs in the looping effects, fuzz bass, rhythmic inventiveness, melodic accessibility, fiery soloing, and general spirit of adventurousness. But there is also something new here: a cohesiveness and single-minded sense of purpose that elevates not only the group's "tunes," but also its approach to collective improvisation. The more straight-ahead jazz-rock material is handled capably enough and Steam can be recommended on that basis alone, but what truly perks up the ears are the several improv tracks sandwiched between the jazz-rockers, introducing a new dimension yet somehow fitting seamlessly into the whole. Following the capable but somewhat predictable post-Canterbury jazz-rock exercises "Footloose" and "The Steamer," "The Big Man" hits the listener with Etheridge's chunky distorted guitar chords that tip toward post-grunge, as Travis uses his array of electronic effects to harmonically split the notes from his soprano sax and the band heads into a murky, fuzzy swamp of sounds before the instruments emerge into an improvisational interlude and the tune simply collapses and dissipates -- and it's fantastic! What began as entirely competent -- even passionate -- jazz-rock is suddenly exploded, starting from a new place and never quite touching down in the familiar. "The Big Man" is followed by a beautiful, lyrical version of "Chloe and the Pirates" from Soft Machine's Six, and while the band is undoubtedly looking to the past here, the track is lovely and dreamlike, and a perfect palate-cleanser after the preceding track's sonic outbursts. The bright "In the Back Room" has Marshall and Hopper locked in a funky backbeat behind a unison theme cranked out by Travis (on tenor) and Etheridge, and the tune is a fine vehicle for the guitarist to unleash some typically fleet-fingered soloing over the top, followed by some soulful wailing from Travis before an extended vamp featuring multiple saxes takes over and rides into the sunset. This is a fun and perhaps somewhat lightweight tune, but once again the band defies easy expectations with "The Last Day," a return to free-form territory. Travis' skittering looped flute, Hopper's thick fuzz bass, and Marshall's rolling drumwork set an expansive mood before the bandmembers coalesce in spectacular fashion around a mid-tempo groove and brief themati
録音 : ステレオ (Studio)