Customer Reviews

Ma Fleur-Limited

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

 

 

There have been plenty of professional reviews of this album that have either loved the new direction that TCO has taken or lamented the passing of a torch-bearer of new jazz. I have to say that I feel both ways. I must pre-condition my review by stating that I am a huge fan of TCO. I own Horizon (a little known release) and have multiple copies of live performances through the years, including their Solid Steel works that are excellent. My interest in them stems from a love of the symbiosis of jazz and downbeats that they perform better than anyone.

When I first heard the single "To Build a Home", I thought it beautiful. I eagerly wanted to hear the rest. When I heard the rest, which is a significant departure from their earlier work, I was a bit let down from the perspective of "jazz and downbeats", but willing to give the album a real listen. My overall impression is that the album is good, but not great. Event the tracks that are closest to the old-TCO style are not as strong as previous work (and sometimes is previous work). Most of the album has replaced the jazz with vocals and replaced downbeats with sparse orchestration. As a result, the album leaves you a bit cold.

1. "To Build a Home". Beautiful track featuring Patrick Watson and piano. My initial reaction has faded into disinterest due to its simple structure and sparse orchestration.
2. "Familiar Ground". Is basically a rehash of their Solid Steel work with the exception of the sweeping sax in the original is gone, losing some of its flare. Fontella Bass is still here, which is great.
3. "Child Song". Closest song to "jazz and downbeat" TCO. Great.
4. "Music Box". Sparse acoustic guitar, with Watson and Lou Rhodes which remind me of a song you would hear in a spa somewhere. Nondescript and empty of signature TCO arrangement.
5. "Prelude". Simple orchestration that seems to want to build to something, but never does.
6. "As the Stars Fall". Another song that hints at older TCO, more along the lines of "Motion" than "Everyday" as far as pace and sound.
7. "Into You". Brings back the sparse acoustic guitar but with Patrick Watson singing almost in the background. Again, nothing special and is gone before any resolution is generated song-wise.
8. "Ma Fleur". A simple orchestration of guitar, bass and sax that builds on a single theme with what seems like a bridge rather than a song. I could see how one could claim that this is similar to Paul Motian's work in its sparseness. It's interesting and has grown on me.
9. "Breathe". A Fontella Bass song that I like and does hint at old-TCO type arrangements. It is slow, however, and takes some listens to warm up to.
10 "That Home" Another Patrick Watson song that revisits the theme set in "To Build a Home" with piano and cello. Beautifully written if not simple in form. However, it finishes before any resolution (again).
11. "Time & Space" . A plodding song of bass and vocals that evolves into a more TCO-type song with piano and a Swincoe background downbeat. The first two minutes are boring, with the last six having some real merit.

So while I like the album, I wish it had more of what I like TCO for.

When judging an album of this kind, you must try not to compare it to anything else. I believe that every other album by this group should be treated this same way, just because of the somewhat gyrating nature of their music. If one does this, The Cinematic Orchestra can never let them down when it comes to innovative music. They are one of the few groups that I have found that does not and cannot have a genre, unless that genre be their own name. Listen to all of "Motion" and then listen to this album and try to honestly tell me that this isn't one of the most innovative groups of our time. The only other recent groups I know of that I can compare them to are Radiohead and Jaga Jazzist (a 12 piece jazz group from Norway). That is just my educated opinion.

The first reviewer hits the nail on the head. I rate The Cinematic Orchestra as one of the best, most interesting bands to come along in years. When you listen to the album 'Everyday' you realise there's no one to touch them at such heady, creative and joyous heights. Alas, on Ma Fleur the Norah Jones comparison is all too valid. If I want a collection of middle of the road, solopsistic torchsongs, then I'll buy a Damien Rice album - except why would I want to do that? Oh, and it's a soundtrack to a movie that's not been made yet? Yeah? Well, that idea's been done to death, and it doesn't make this album any less of a turkey. I await the return of the Cinematics at their majestic norm.

I know that Cinematic Orchestra is not the same than before, but to me this album sounds great. I just can't stop listening it. Patrick Watson does an amazing job on track 1, 4 & 10.

If it weren't for two passable cuts -- "Child Song" and "As the Stars Fall" -- I wouldn't even believe this was same band. There's no sense of musical adventure, eclecticism traded in for Philip Glass-like minimalism ("To Build A Home" belongs on an Antony & the Johnsons disc), which makes for fine wine-tasting music, but little else. Not only are there almost no instrumentals this time around, the disc seems preoccuppied with vocals, and for no good reason. Take "Familiar Ground," for instance; Fontella Bass is a frequent participant on OC albums, turning in a particularly fierce effort on "Evolution" on 2002's "Every Day." But "Familiar Ground" drones along like space junk in free fall and Bass just sounds bored. If this were Diana Krall or Norah Jones territory, I wouldn't be so critical, but CO has lost their groove and entered a blow, er, blue period. Ninja Tune's press release about "Ma Fleur" states that the release "was written as the soundtrack to a specially commissioned screenplay for an imagined film (which may or may not yet be made)." This sounds like a clever way of saying Jason Swinscoe is ready to compose jingles for automakers and furniture stores.