Customer Reviews

Charlie Watts - Jim Keltner Project

5 star:		(6)
4 star:		(3)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Unlike anything you probably ever expected from Charlie Watts, and quite unlike anything else, actually. Wonderfully complex but basic drumming, compelling loops and editing, with jazz progressions overlaying, complementing, or driving throughout. Anyone into the Stones, or drumming, or modern recording techniques....you gotta get this one! You can jog to it, too!

An excellent uplifting cd!- a jazz based cross platform that mixes styles and tempo, you can't help tapping, floating and trancing along with this one. I didn't know watt to expect, but these guys know how to mix it, turn up the volume and go with it...another project on the way?

This is an absolutely wicked album. There are two CD's in the box, a blue and a red, so you get loads for your hard-earned. The 'blue' is more accessible of the two, and basically grooving and funky. The 'red' is heavier and not so melodic, but has the most fantastic groovin' track called 'airto' - you just have to hear it. Charlie Watts is not 'Mr. Awesome Technique Drum Man', but if is responsible for putting this stuff together, then all power to him - he sure sets a nice groove going, and he obviously loves what he does. Don't worry, this music bears absolutely no resemblence to anything by the Stones (luckily). Great piano playing, some drum & base, some ethnic sounds, woodwind. Its different, unique & the best album I've bought for ages ....... the other reviews I read gave me the impression it was worth a punt. IT IS.

Both Watts and Keltner have played on countless great rock albums, but neither are really great jazz drummers; that's okay, as there's really not much on this album that could be taken for jazz. Most of it is based on the eighth-note ostinato that characterizes the bulk of rock music. It's all interesting, to a point, but I don't think there's much here that has the timelessness of a good Stones album or any number of great Keltner-backed album.

Each time a new tune would get going and I'd be getting into the groove I kept thinking to myself "unbelievable!" This is fantastic stuff...

There was a time in the 1980s when the Rolling Stones were about to split forever.
Mick Jagger had just released his first solo record (She's the Boss), and all the other Stones were busy working on their solo projects. Keith recorded Jumpin'Jack Flash with Ronnie Wood and Aretha Franklin, Keith produced a documentary on Chuck Berry (Hail Hail Rock and Roll), Keith did his solo album (Talk is Cheap). Ronnie Wood went on tour with Bo Diddley and recorded a Live at the Ritz. And there is Charlie Watts.
Charlie Watts' solo career is probably the most diversified, the most interesting of a Stone alone. The reason is that why the other Stones tend to replicate the Stones'magic formual on their own, Charlie does instead entirely different things. Charlie's first record was with the Charlie Watts Orchestra and it made masterful renditions of Jazz masterpieces from Stomping at the Savoy to Moonglow. Charlie's second solo project was a tribute to Charlie Parker. Then Charlie recorded two albums with the Charlie Watts Quintet--Warm and Tender (1993), and Long Ago and Far Away (1996) featuring Bernard Fowler, who has been the Rolling Stones' backing vocalist in the past three tours, as lead singer. The last of Charlie Watts'solo projects is Charlie Watts Jim Keltner Project (2000). This is probably the most interesting and the most unexpected record from a Rolling Stone. The record makes in fact an interesting combination of ethic/world music and high tech --sequenced sounds, programs, that is all those instruments and things that are not to be found in any Rolling Stones record. The sound of Africa and Asia echo respectively in the elvin suite, and billy higgins. The Charlie Watts Jim Keltner Project is really unusual and it's fun to listen to.

This double album is as luxurious on the lugs as a sun-warmed bicycle seat is on the haunches. I picked it up for a couple of kopeks on a recent trip to Dublin and play it every time I do the wash-up, which is breakfast, dinner and tea on weekends and holidays and just dinnertime on weekdays. This is hands down the best washing-up music I've ever heard. Goes on for ages too without anything even approximating a botch in its brush and stick work. Charlie Watts is a genuine Mahubba Bubba, ain't he? Hasn't ever in my estimation put a foot wrong and by all accounts he's a decent skin too and will come down and talk to the punters between sets when he's over there at Ronnie Scott's. Don't know much about the other felly but he's obviously a mate of Charlie's so he's not likely to be any old teapot, now is he? The record is totally game ball in any case and it really doesn't matter which disk you have on at the time, they're both yummy chocolate-topped, orange-filled sponge cakes. A word about the self-aggrandising critical response you are apt to encounter here by certain jazz purists and at least one wallaby who seems to think he's defending Art Blakey against the grossest racial insult. Weeping Jeebus but can you imagine having an actual conversation with these jokers? Me, I'd rather go to an all-night dentist but hey that's just me, thin-skinned when it comes to junior achiever sensitivity training and bogus beatnik hauteur masquerading as some kind of authority. In short, great bolshy bollocks to begrudgers such as these--methinks indeed their absurd disparagement rather augments my admiration for Charlie and Jim's collaborative bongo fest. So crank this drum set way up, pull on your rubber gloves and make them bubbles fly.

A tributary album that ultimately falls short in my judgment, this experiment becomes far too cyclic and unexciting early on in our listening. The potential for great music existed when Keltner and Watts decided to collaborate, but this album does not make use of their talents appropriately. The overall structure is loose and chaotic, with repetitive beats that go on for miles on end in each direction.

This isn't the worst music you'll ever hear in life, but it isn't the best either. I don't despise this record; I just did not enjoy it. While the collaboration itself was somewhat mythical, the musical result was nauseating repetition. This is not an album that I toss in very often, and I will likely end up just trading it in with the record shop nearby.

Charlie Watts/Jim Keltner Project :

Shelly Manne - This first track is indicative of what is to come on this CD. It instantly grabs you by the shoulders and makes you kind of "jive around"; you can't stop your upper torso from moving with the music. Since I can't really identify the different instruments, I can only say that the blend of the percussion with the sequencer is hypnotic and made me anxious to hear more. This is the perfect opening piece for this CD, a "teaser" in a way, intriguing the listener.

Art Blakely-Jungle-esque, African drums and flute blending together to bring you to your feet, suddenly you can dance the way you've always dreamed of...spinning and bobbing...waving your arms in time. You never knew you had this much rhythm in you, but here it is...go with it!

Kenney Clarke-Thanks to Shirley Watts, we are given this incredible gift, very Arabic, you can visualize harems and cobras and belly dancers, occasionally surprised by a little "kitchen music" like you used to play when you were a kid...playing your moms' pots and pans! God, I love this cut!

Tony Williams-Oddly interesting, Keltner read to us during this, an interview done in Modern Drummer with Tony Williams, while Charlie and company accompany him with a "meandering requiem" as Charlie puts it. Haunting piece, really. Some may think it goes on a little too long, but I find every second of it fascinating. Mick Jagger's piano contribution is quite lovely here.

Roy Haynes-This one gives your speakers a real work-out! The sound is all around you, bouncing from speaker to speaker...each bounce bringing a different sound. It builds and builds on itself, and takes you along for a ride you will want to be on again and again! The sequenced sound alone is worth the price of your ticket, but the twists and turns this cut takes will take you by surprise every time you hear it. All the while, Charlie pounds those drums, as only he can do, and provides an amazing "floor of sound". Another favorite of mine!

Max Roach-this blends into the Haynes cut perfectly, it seems like such a natural progression that you just are continuing your groove from the preceding tune. This one is powerful, driving and suddenly springs into an incredible jazz number that will win over even those who have never appreciated jazz. Absolutely beautiful !

Airto-Wow! From the first notes you are taken into a space you've never seen or heard or felt. Kind of airy, jazzy, breezy, easy to love. Really a nice piece, simple and complex at the same time, but natural in its' feel...when you hear it, it's like you've always had it in your head but this is first time you've ever heard it out loud. A natural kind of sound.

Billy Higgins-Charlie pounding, pounding, pounding! This in a strange sort of way reminds me of "Adiemus" in the vocals. Not an actual language (I don't think) but still sounds like words coming from an unseen female power. All the while, Charlie is not letting up, you can see him in your mind, that determined look on his face, just jammin' this piece out, like someone pounding on hot steel to make a certain thing. Stunning in a way, and yet the most quiet, unobtrusive cut on this CD.

Elvin Suite-Oh my God! Blondie Chaplin is breathtaking in this piece...a quiet sort of humming song, again, something that you have always heard in your mind but never knew it. This is painfully beautiful; it encompasses so many emotions, styles, sounds and feels. Indescribable in a sense, words fail me. Another hint of the "Adiemus" feel to it...it stays with you for a long time. A touching, enchanting ending to a remarkable CD.

Thank you Charlie Watts! Once again, you have taken us on another road and it was a beautiful ride. You never cease to amaze me, Charlie. You are truly a remarkable man. Charlie's Angel

Charlie Watts/Jim Keltner Project :

Shelly Manne - This first track is indicative of what is to come on this CD. It instantly grabs you by the shoulders and makes you kind of "jive around"; you can't stop your upper torso from moving with the music. Since I can't really identify the different instruments, I can only say that the blend of the percussion with the sequencer is hypnotic and made me anxious to hear more. This is the perfect opening piece for this CD, a "teaser" in a way, intriguing the listener.

Art Blakely-Jungle-esque, African drums and flute blending together to bring you to your feet, suddenly you can dance the way you've always dreamed of...spinning and bobbing...waving your arms in time. You never knew you had this much rhythm in you, but here it is...go with it!

Kenney Clarke-Thanks to Shirley Watts, we are given this incredible gift, very Arabic, you can visualize harems and cobras and belly dancers, occasionally surprised by a little "kitchen music" like you used to play when you were a kid...playing your moms' pots and pans! God, I love this cut!

Tony Williams-Oddly interesting, Keltner read to us during this, an interview done in Modern Drummer with Tony Williams, while Charlie and company accompany him with a "meandering requiem" as Charlie puts it. Haunting piece, really. Some may think it goes on a little too long, but I find every second of it fascinating. Mick Jagger's piano contribution is quite lovely here.

Roy Haynes-This one gives your speakers a real work-out! The sound is all around you, bouncing from speaker to speaker...each bounce bringing a different sound. It builds and builds on itself, and takes you along for a ride you will want to be on again and again! The sequenced sound alone is worth the price of your ticket, but the twists and turns this cut takes will take you by surprise every time you hear it. All the while, Charlie pounds those drums, as only he can do, and provides an amazing "floor of sound". Another favorite of mine!

Max Roach-this blends into the Haynes cut perfectly, it seems like such a natural progression that you just are continuing your groove from the preceding tune. This one is powerful, driving and suddenly springs into an incredible jazz number that will win over even those who have never appreciated jazz. Absolutely beautiful !

Airto-Wow! From the first notes you are taken into a space you've never seen or heard or felt. Kind of airy, jazzy, breezy, easy to love. Really a nice piece, simple and complex at the same time, but natural in its' feel...when you hear it, it's like you've always had it in your head but this is first time you've ever heard it out loud. A natural kind of sound.

Billy Higgins-Charlie pounding, pounding, pounding! This in a strange sort of way reminds me of "Adiemus" in the vocals. Not an actual language (I don't think) but still sounds like words coming from an unseen female power. All the while, Charlie is not letting up, you can see him in your mind, that determined look on his face, just jammin' this piece out, like someone pounding on hot steel to make a certain thing. Stunning in a way, and yet the most quiet, unobtrusive cut on this CD.

Elvin Suite-Oh my God! Blondie Chaplin is breathtaking in this piece...a quiet sort of humming song, again, something that you have always heard in your mind but never knew it. This is painfully beautiful; it encompasses so many emotions, styles, sounds and feels. Indescribable in a sense, words fail me. Another hint of the "Adiemus" feel to it...it stays with you for a long time. A touching, enchanting ending to a remarkable CD.

Thank you Charlie Watts! Once again, you have taken us on another road and it was a beautiful ride. You never cease to amaze me, Charlie. You are truly a remarkable man. Charlie's Angel

What(watt) a truly amazing disc! Watts & Kliener have incorporated sounds and rhythms from around the globe to create a tasty and eclectic treat. One disappointment (slight) is track 4, Tony Williams: this tune droans on way too long (M. Jagger keyboards are also quite ho-hum).