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Editorial Reviews
Bob Shimizu & Signal Strength: Cuchillero
Cuchillero, the agreeable new CD by Arizona-based guitarist-composer Bob Shimizu and his band Signal Strength, runs the gamut from swing, Latin, and funk to fusion and smooth jazz in radio-ready style.
"Joy for LeRoy" begins with Shimizu and bassist Michael King doubling a sly, Horace Silver-like ostinato with a hint of reggae. The form opens to an easy swing with stops punctuated by Larry Kantor's crisp drum fills. David Vincent Mills weighs in with a fine piano solo, followed by the leader's warm tribute to Wes Montgomery. King wraps things up before the tune fades on the original ostinato.
The 5/4 ostinato that begins "Contusion Waltz," with Shimizu's angular line evoking the Doors' Robby Krieger, traverses a mixed-meter landscape before leading to a bright walking ¾. Some tight Moorish ensemble work precedes King's return to the intro, this time with an appropriately staccato ending.
If "Loop 101" isn't already a hit, it should be: a light, danceable groove with a memorable theme that Dave Grusin might hum on his way to the office. More nice octaves introduce one of Shimizu's best-constructed solos.
Kantor's glassy hi-hat sets the pace for the multidimensional title track, featuring several well-realized group passages. The leader's aggressive tones recall his days in popular D.C. rock and fusion bands.
The gentle intro to "Suite Street for David" leads not to the expected light bossa but to a spacious pop-rock tune with another irresistible melody. The elusive bossa returns in the form of a piano solo with new chord changes; this evolves to a baroque duet for acoustic guitar and harpsichord before the tune returns over pumping eighth notes in the bass.
The bolero-cum-bossa "In Harm's Way" features Shimizu's chordal harmonic-minor melody accompanied by Kantor's soft mallets and an undulating current of percussion. The leader's synth reappears as a marimba doubling his guitar line. Mills's tasty interjections on melodica enhance the cosmopolitan atmosphere. A conversation between guitar and piano pauses for Shimizu's chordal cadenza and the sinuous recap.
"Where Do We Go When We Die?" is an old-fashioned jazz ballad that suggests the golden days of film noir. Kantor's brushes whisper beneath Mills's lyrical solo and more rich sonorities from the leader.
"Tier's Tyme" opens with Enya-like synth swells over an insistent pulsation that manifests itself as eighth-note triplets and fades when the oceanic theme appears. More deft brushwork underpins a quiet melody that would make Pat Metheny smile.
Echoes of Chick Corea's "Spain" characterize "Samba Juana Anna," with its demanding ensemble kicks and Fender Rhodes-flavored melody. Chuba's surdo lends a touch of Brazilian authenticity so often lacking in jazz sambas. Mills turns in his most assured solo before Shimizu takes over in fittingly distorted colors. The cut climaxes with Kantor's restless accompanied solo.
A welcome light salsa groove introduces "Pedro Likes Your Girlfriend," another singable Shimizu melody. Jamaican upbeats behind the piano solo are a pleasant surprise.
The bass player is the unsung hero of many a band, and King is no exception on his funky feature, "King Michael." Mills's electronic Hammond also is shown to good advantage here.
The leader's smoky rubato prelude to "Mr. Brown" reintroduces an unhurried swing feel, nodding to the great old organ trios (except that King's assured walking provides an edge no set of bass pedals can produce). The tune ends with a cascade of impressionistic chords and a sweet reference to "Harlem Nocturne."
Cuchillero closes on another cheerful pop note, "I Saw Her First," that begs for airplay. Mills answers Shimizu's pretty theme à la Bob James. A short, unresolved ending leaves the listener hoping for more from Bob Shimizu and Signal Strength.
www.signalstrengthband.com
Cuchillero, the agreeable new CD by Arizona-based guitarist-composer Bob Shimizu and his band Signal Strength, runs the gamut from swing, Latin, and funk to fusion and smooth jazz in radio-ready style.
"Joy for LeRoy" begins with Shimizu and bassist Michael King doubling a sly, Horace Silver-like ostinato with a hint of reggae. The form opens to an easy swing with stops punctuated by Larry Kantor's crisp drum fills. David Vincent Mills weighs in with a fine piano solo, followed by the leader's warm tribute to Wes Montgomery. King wraps things up before the tune fades on the original ostinato.
The 5/4 ostinato that begins "Contusion Waltz," with Shimizu's angular line evoking the Doors' Robby Krieger, traverses a mixed-meter landscape before leading to a bright walking ¾. Some tight Moorish ensemble work precedes King's return to the intro, this time with an appropriately staccato ending.
If "Loop 101" isn't already a hit, it should be: a light, danceable groove with a memorable theme that Dave Grusin might hum on his way to the office. More nice octaves introduce one of Shimizu's best-constructed solos.
Kantor's glassy hi-hat sets the pace for the multidimensional title track, featuring several well-realized group passages. The leader's aggressive tones recall his days in popular D.C. rock and fusion bands.
The gentle intro to "Suite Street for David" leads not to the expected light bossa but to a spacious pop-rock tune with another irresistible melody. The elusive bossa returns in the form of a piano solo with new chord changes; this evolves to a baroque duet for acoustic guitar and harpsichord before the tune returns over pumping eighth notes in the bass.
The bolero-cum-bossa "In Harm's Way" features Shimizu's chordal harmonic-minor melody accompanied by Kantor's soft mallets and an undulating current of percussion. The leader's synth reappears as a marimba doubling his guitar line. Mills's tasty interjections on melodica enhance the cosmopolitan atmosphere. A conversation between guitar and piano pauses for Shimizu's chordal cadenza and the sinuous recap.
"Where Do We Go When We Die?" is an old-fashioned jazz ballad that suggests the golden days of film noir. Kantor's brushes whisper beneath Mills's lyrical solo and more rich sonorities from the leader.
"Tier's Tyme" opens with Enya-like synth swells over an insistent pulsation that manifests itself as eighth-note triplets and fades when the oceanic theme appears. More deft brushwork underpins a quiet melody that would make Pat Metheny smile.
Echoes of Chick Corea's "Spain" characterize "Samba Juana Anna," with its demanding ensemble kicks and Fender Rhodes-flavored melody. Chuba's surdo lends a touch of Brazilian authenticity so often lacking in jazz sambas. Mills turns in his most assured solo before Shimizu takes over in fittingly distorted colors. The cut climaxes with Kantor's restless accompanied solo.
A welcome light salsa groove introduces "Pedro Likes Your Girlfriend," another singable Shimizu melody. Jamaican upbeats behind the piano solo are a pleasant surprise.
The bass player is the unsung hero of many a band, and King is no exception on his funky feature, "King Michael." Mills's electronic Hammond also is shown to good advantage here.
The leader's smoky rubato prelude to "Mr. Brown" reintroduces an unhurried swing feel, nodding to the great old organ trios (except that King's assured walking provides an edge no set of bass pedals can produce). The tune ends with a cascade of impressionistic chords and a sweet reference to "Harlem Nocturne."
Cuchillero closes on another cheerful pop note, "I Saw Her First," that begs for airplay. Mills answers Shimizu's pretty theme à la Bob James. A short, unresolved ending leaves the listener hoping for more from Bob Shimizu and Signal Strength.
www.signalstrengthband.com
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