Customer Reviews

Dance Lesson #2

5 star:		(6)
4 star:		(3)
3 star:		(4)
2 star:		(2)
1 star:		(0)

 

 

As a long-time groove disciple and fan of the Greyboy Allstars, I couldn't help but snatch this album up at first sight. The band lineup added to my excitement -- combining veteran groovemeisters like Melvin Sparks (guitar) and Ron Levy (organ) with new cats like Chris Wood (bass) of Medeski, et al., Charlie Hunter (8-string guitar), and DJ Logic. I was also pleased that Denson decided to bring along a fellow Greyboy Allstar, drummer Zak Najor, to the "bigtime" (a very deserving inclusion).

I've given this album repeated listenings in a sincere effort to give it more than its fair shot, but haven't been able to overcome my initial feeling of disappointment. The album starts out promisingly with the tight funk groove of Dance Lesson #2. But from there it quickly subsides into an undifferentiated succession of flat mid-tempo jams that shuffle along in seemingly sleepwalk-like state. The songwriting is unoriginal, and the playing is uninspired, almost smug. Major labor debuts don't have to be like this (witness the new Soulive album, for example).

Don't get me wrong, everything GROOVES here -- hence, three stars. But, as someone familiar with the quality of Denson's work with the Greyboy Allstars and as a solo artist, I have to say this is pretty mediocre. It's a shame that Denson, for whatever reason, presents less than himself in his "big debut." Get his other stuff first, then check this out if you want more, but not necessarily better.

As the title to this review says, Herbie, where are you. There is a heavy dose of Memphis Underground here (the boogaloo beat on Rumpwinder) and the haunting tribute to Walter Wunderlich's B3. But, the dance mix sound effects are out of place and ruin an otherwise delightful offering. Take away the noise, leave the funk and pick up two more stars from this reviewer.

The title of the review says it all. Karl Denson is one the most talented saxophonists of this generation and some how is still far more obscure then he should be. Out of all of his discs this one is my all time fav, more so then his latest excellent disk "the bridge". You really get to hear him stretch out on this one. Also this was incredibly produced. This CD sonically, sounds incredible. Can't wait for his next release!!!!

I really like the combination of live jazz musicians and DJs, and so naturally I was drawn to a recording by one of the pioneers of the mixture. Denson's work with Greyboy as well as his stellar live show with the Tiny Universe (sometimes accompanied by DJ Logic) are very refreshing bits of music in a world that seems to have forgotten all but four looped bars of the funk of yesteryear. Dance Lesson #2 starts off marvelously, the blend of grooves and scratching on the first two tracks is as good as one will hear. But all in all Denson and his marvelous assembly of musicians including MMW Veterans Logic and Chris Wood as well as Zak Najor, Charlie Hunter and a host of other Jazz greats, seem to run out of material. Unlike fellow funk-jazz revivalists Soulive, Denson starts with a great introduction that seems to be leading to a wonderous "Above the Clouds" world of sound and leads us only to find a quality smooth jazz record. This album is definitely worth a listen and probably a purchase. I listen to it pretty regularly, but it is not the full capacity of Denson and his ensemble.

I am a big time jazz fan and I have become very interested in jazz-funk jam bands like Denson's Tiny Universe, Galactic, Soulive, etc. I just bought this album, and for the most part, I am very impressed. The album has a lot more to it that Soulive's Doin' Something, another new-school style Blue Note release. Perhaps it's that more attention is paid to solos or simply the instrumentation, but Dance Lesson #2 sounds very innovative and experimental compared to the Soulive album, which gets rather repetitive and sometimes sounds just like something Jimmy Smith might have produced 40 years ago (not that it's bad, it's just not particularly riveting). My only complaint is that there is sort of a timid feel. It seems like Denson, perhaps apprehensive about a lyric-free debut the storied Blue Note family, doesn't stretch the music on the album to the limits that could easily be reached. I think it's awesome that Denson uses DJ Logic on the turntables, I think that a mix of jazz and turntable dance music can be really, really cool. Again, however, the turntable work is missing something, sometimes it sounds really good but sometimes it just sounds like odd background noise, it should be given more attention on the album. All in all, though, I must say that I really like this CD. Despite what Wynton Marsalis or anyone else might argue, Jazz is alive and it is changing and innovating everyday. Consider this album a roughly sketched, somewhat narrow preview of much, much better things to come.

Being a HUGE fan of the Greyboy Allstars, Galactic, and the jazz/funk genre in general, you can imagine my delight when, way back in March!, I stumbled upon a promotional copy of Dance Lesson #2 put out by Blue Note. Having had months now to fully digest this equisite treat of an album, I must say Denson out-funks many of his own memorable albums made with the Greyboy Allstars, and firmly cements his reputation as a magnet for the most talented, explorative, and downright groovy musicians out there. Denson, as always, amazes on both sax and flute; DJ Logic provides nice fills and tasteful cuts throughout; Melvin Sparks thrills with his trademark crystalline guitar leads; and Zak Najor and EJ Rodriguez lend a solid rythmic backbone to the festivities. Throw in choice contributions by Chris Wood, Charlie Hunter, and Ron Levy, and you've got a winner. Give a shot out to the cats at Blue Note for continuing to churn out meaty groove fests with the likes of Soulive, Karl Denson, and MMW!

I am a huge Karl Denson fan and I have been ever since the Freestylin' with DJ Greyboy. All the artists on this album I have purchased or seen live in the past individually. (Ron Levy, Charlie Hunter, MMW etc..) I just saw Karl at Jazzfest ....Karl, where is the funkjazz and groove we all came to love?? This is a disappointing effort in my opinion. There are only 9 songs. I wouldn't waste your time with this one....If you want to continue with the funk and groove I would suggest going to Karl's shows live, buying the Greyboy Allstars CD's, listening to Robert Walter's 20th Congress, or checking out any of these artists individually.

As a long-time Karl Denson and Greyboy Allstar fan, this is definitely one of my favorite albums to put on at a party or just by myself. I enjoy the overall smooth-funk vibe, the unexpected scratches from DJ Logic and the layers of instrumental grooves compliments of Melvin Sparks, Ron Levy, Chris Wood, Charlie Hunter and Zak Najor. This collaboration has a definite point of view and sound. For me, this is exactly the mixture of head-bobbing, funk-jazzy goodness any girl could want! I hope you all enjoy it as much as I do-- it never seems to get old!

I'm surprised that Karl put Dj Logic on most of the tracks. I always thought he was the type of musician that was on the cutting edge of Hip/Hop fusion. Dj Logic never breaks any boundries for turntablists, especially when he scratches the same one word sample ("Rock" or "Yeah") over and over again, which people claim is a masterful percussion imitaion. I can't take it, the wealth of great dj's out there that really strive for new ideas is blinding(Cut Chemist, Nu-Mark, Q-Bert, Swift, Kilmore...) Why does Dj Logic get to play with Karl Denson? Why MMW? Major thumbs down for his participation on this album, especially on the otherwise really strong sounding "Who are You?" which I think is robbed of it's sophistication by Logics scratching. All and all, the first track gets you going big time with strong rhythm and some really fine trademark, Karl Denson and Melvin Sparks soloing, but afterwards the cd just sits in this stagnant state. I'm dissapointed. Karl's work with Greyboy was more focused and more accessible in my opinion. The recording, as usual with Blue Note, sounds beautiful.

I've been listening to Karl Denson since 1993 94 when he was in the Greyboy Allstars. But at that tme would only see him live at cool clubs. That guy plays the flute and the sax in the same songs and it gives you chills. His energy on this CD definitely grooves, as he always has. I recomend this CD to anyone who likes to groove. I'm happy to be able to get his music on CD because Hawaii doesn't have that kind of music scene.
Aloha