Customer Reviews

Latitude

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

 

 

Latitude is the first album in a trilogy by Groundtruther, guitarist Charlie Hunter and drummer Bobby Previte's experimental new trio. Each album will feature a different rotating guest as the third member of the trio. For this session, that is saxophonist Greg Osby. Together these three conjure a sound world that is equal parts of their own making. Add Previte's electronic sampling drums to their usual arsenal of organic instruments, and you have a session as rhythmically varied as it is texturally complex.

Although acid jazz is a deservedly maligned term held over from the 1990's, there is a flirtation with that danceable vibe on this disc. But groove never overcomes the more exploratory side of the group's focus. Drum n' Bass and Jungle rhythms flirt with reverb laden guitar lines and swirling bop inflected alto sax lines. The pieces vary from slow burn to BPM crazy. Complemented by loops, vocal samples and electronic flourishes, the trio is as sonically dense as a group twice it's size. Fans of these three artists who are looking for something a bit more raw from their usual output will find much to love on this album.

It will be interesting to see how each new invited guest affects the overall sound of the group and where that takes them on their forthcoming releases: "Longitude," and "Altitude." No other label does modern electronic jazz cross-over as well as Thirsty Ear does and this album is one of their finest examples.

If you love fascinating sonic textures, rhythms both catchy and elusive, and a playful yet controlled approach to song structure, there's a good chance you'll love this disc as much as I do. One reviewer calls this "avant-garde," but if that puts you in mind of the formless abandon of, say, Cecil Taylor, or the scronking wildness of Albert Ayler, you won't find that here. Every song has its own vocabulary of sound and rhythm, which Hunter, Previte, and Osby use as a framework for creative exploration--always with a groove holding everything together, sometimes upfront, sometimes subtle. Atmospheric, haunting, fun, pensive, inspiring, original, eminently listenable. If you prefer Charlie Hunter's more mainstream albums, this may not be your cup of tea, but if you were longing for something that was as wonderful as Bill Frisell's most creative work (without sounding a bit like Frisell), I highly recommend it.

A welcome departure from the usually predictable candy groove pop, which I find entertaining, but only for the first two or three spinns

This album is varied in it's content and solid in terms of performances.

I like it a lot.

This are three great, great musical daring gems.

And as usual in Hunter production, when searching for something different

you always find new terribly exciting things .

Not expected at all.

I like very much Hunter " groovy" sound.

But this is really FAR better for my musical taste.

Most people will find it unaccesible and noisy.

Well, I hope some day more people will be able to enjoy this.

It's really a beyond standards, intelligent and elaborated music.

All of the Groundtruther installments feature Charlie Hunter and Bobby Previte with a guest. In this case, it is the saxophonist Greg Osby. This disc is high on the electronics and psychedelics. This project is lush with electronic drum beats and digital textures. The highlight may be 'Equator.' Very seldom does anybody grab the bull by the horns and play a power solo. "Latitude" is about the journey. This project is about textures and avant-garde experimentation. Given the sonic complexity, it is amazing to consider that this music was recorded without overdubs or significant editing. Writing from my experience, the Groundtruther series plays music that will not come to the listener; rather the listener must come to the music. Some may need transcendents to appreciate the series. In the very least, these recordings require the effort of repeated listens and an open mind. All of the Groundtruthers sound like the groups are jamming together for the first time. Sometimes this works and sometimes it doesn't. On "Altitude" (the project with John Medeski), the effort has more of a straight rock and funk feel. "Longitude" (the project with DJ Logic) can be dismissed as just being wacked. In contrast, this project leans heavily into dark and spacey electronica. "Altitude" is probably the strongest Groundtruther but I suppose a favorite might depend on whether the listener prefers the saxophone ("Latitude") or the keyboards ("Altitude"). The Amazon reviews for this disc have been very mixed. I believe that there is a great deal of truth in each: some will find this too weird and the melody too elusive. Others will relish the textures, beats and improvisation. The potential consumer should go into this with eyes open: "Latitude" is too far out to appeal to most listeners. In weighing the strengths and weaknesses, "Latitude" is worthwhile for those with adventurous ears.

This is a review of the sound quality only.

The songs on this disk are free of distortion and clipping with one exception. That is track 6, which is moderately bad. But overall I am pleased with this record, especially after having to endure Groundtruther's Latitude, which was horride in terms of sq.

So if you are interesting in sound quality, this one gets a pass for the most part.

I bought this album full of anticipation based on the incredible success of the Hunter/Previte duo album "Come in Red Dog, this is Tango leader." Red Dog/ Tango was just chock full of the funkiest grooves and incredible purcussion and I thought Latitude would be similar with a third party thrown into the mix.

Boy, was I wrong!

As other reviewers have mentioned, this is a much more "loose" ensemble. The saxophone is very very free, almost random noodling. Charlie's parts are very spacey. It's a low key album with noodling rhythm-less saxophone in the background.

Like Red Dog, this is a "live" album (no overdubs, etc) of the musicians jamming together. To me, it sounds like a warm up or practice session where they are just getting to know each other. I want to come back in a week and hear what they can do once they get a feel for each other and start stomping the grooves out. This album was cut too soon.

Personally, I just don't like this album at all. Charlie is my favorite artist for many reasons, but first and foremost, he grooves. This album doesn't. At all. I can understand Charlie wanting to make an album like this, but I hope he got his fill and never makes another one in the same vein.

I love Charlie Hunter. This is the first album I regret having and I doubt I'll listen to it much. I highly recommend Come in Red Dog though. Perhaps his best.

This album is billed as a meeting of Charlie Hunter and electronica guy Bobby Previte, with special guest on sax Greg Osby.

So I figured this would be typical grooving Charlie Hunter jams. Boy was I way off.

Beware that this album is very avant-garde and the songs never really materialize. It's just way too experiemental for my taste; it's almost hard to listen to.

I really expected better given Charlie Hunter's usually-solid CD's. I guess he's trying to do something different...