Customer Reviews

Modern Art

5 star:		(18)
4 star:		(4)
3 star:		(8)
2 star:		(3)
1 star:		(2)

 

 

OK, Rippingtons fans - what does this new CD, "Modern Art", sound like with the return of one-time sax/wind player Jeff Kashiwa, the absence of long-time bassist Kim Stone, and the departure of percussion effects/congas/etc. completely?

The answer is not bad. Kashiwa brings his "A" game, blowing the heck out of the sax and really grooving. And some of Russ Freeman's guitar work interplays well with Kashiwa. There's also some nice piano/keyboard lines from Bill Heller, although some of it is definitely dated in the 80s. The bass/drums are mixed extremely well and really bring a lot of thump to the tracks, but the bass lines are not at all distinctive like you could expect from Stone. And, typical of latter-day Rippingtons work, the keyboards add a feel of rhythm with looped effects.

However, the songs are not really distinctive. The lack of percussion helps bring a sameness to the sound, although Kahiwa alleviates this some by changing the sax type (soprano, alto, etc.). The sameness to the songs is both good and bad. There aren't any throwaway songs that make me want to fall asleep or skip the songs, but there also aren't any of those "wow" songs I expect from the Ripps. It's all very pleasant, but it reminds me of the last two Steely Dan albums - comfortable and not challenging, so nice but not near the standards expected by the group.

First and foremost. Russ Freeman and the Rippingtons are in a league of their own. I own every CD they have ever released as well as individual efforts by the various band members. However, this latest work, which I have been waiting patiently for, is very well done but it doesn't have that vintage Rippingtons sound that made me an avid fan. Each of the tracks are very well composed and refined but to me they sound too much like the mainstream. Case in point, if someone played any Rippingtons song from their past albums, I would know without a doubt who was playing without being told. However, I cannot say the same for this particular work. No knock on this album though, it does sound very good. It just does not possess that vintage Rippington's sound that I personally was hoping for. I am already looking forward to their next release, "Go Ripps!!!"

I have been a fan of Russ Freeman's guitar playing since his "Nocturnal Playground" album in 1985, and a Ripps fan since their debut disc, "Moonlighting", came out in 1987. I have acquired every one of their CDs since; so this review is somewhat painful for me to write.

Their last few albums, sad to say, seem like throw-away afforts from this fine player, who has proven that he has the chops to equal the elite of modern jazz guitarists. This new effort, "Modern Art", falls into the same trap as their last three albums. It tries so hard to play it safe (for the sake of radio airplay, perhaps), that it dares not tread into more spirited, uptempo territory with high-flying guitar solos and terrific interplay with the horn player (in this case, Jeff Kashiwa, returning to the band after an absence of several albums). It would have been great to hear some new tracks of THAT type of Rippingtons music.

I'm of the opinion that artists are right to go for as much airplay as possible, and that's a tough nut to crack in an age when there are so few radio stations that embrace this type of music. But, as a serious fan, I hope that, once I get the disc home, there will be a few gems that are too adventurous for radio on it, but which show what a musician or a band can really do when they "let it rip". Unfortunately, such is not the case here.

Fans yearning for a signature Ripps tune, like "Tourist in Paradise" or "Curves Ahead", will find slim pickings here. New listeners who hear this disc as their first exposure to the group are hardly likely to think of this music as cutting-edge fusion or contemporary jazz, the way fans of the '80's and '90s's versions of the group think of them. What lies inside the cover of this disc is more smoooooooth jazz, without any desire to get any more adventurous than that.

Let's just work our way through this one track by track.

1). "Modern Art"...a "Quiet Storm / Smooth Jazz" FM Radio-friendly opening track. The plus is that Russ Freeman can be heard on the track, there is no fake Santana rhythm section, and the horns are part of the mix, not a squealing, honking annoyance as on the last few "high energy" efforts from the Ripps. The track is harmless, hardly memorable, but alt least a step back toward the more balanced Rippingtons sound.

2). "Paris Groove"...not bad, some tasteful and melodic Freeman acoustic guitar, once again a welcome return to the pre-"Let It Ripp" Rippingtons sound. The flips side is that if you found the "Let It Ripp" album to be a life-altering experience, you may not be as delighted as I am. This one's even more radio-friendly than the opening track (and "meatier" as a composition...good job Russ).

3). "Black Book"...A full minute into this track, the melody is still tentatively creeping up over the bass vamp...this is ambient background music, not the kind of thing I would actually listen to for enjoyment. By minute two we have a few more layers, but the problem is that it is so similar to every one of the similar "Quiet Storm" smooth jazz songs you've heard on the radio that you have to ask yourself...what will make you remember this track?

4). "Pastel On Canvas"...We're four tracks into this album and we can see that Russ Freeman might have been listening to the feedback regarding the absence of his guitar playing on the last few albums (or the fact that it was buried at the bottom of a busy and cacophonous mix). Pleasant, yet still not "grab you by the lapels and demand your attention" stuff.

5). "One Step Closer"...This band really needs to push the envelope and try something new. You've heard this song a million times before...even if you haven't.

6). "I Still Believe"...very, very, very laid back...maybe TOO laid back. I can hear Tim Meadows on SNL saying "I'm doing OK...I've got my Courvoisier right here."

7). "Body Art"...More soloing over very basic jazz-light comps with no memorable song underneath.

8). "Age Of Reason"...Another quiet one...but it is still vanilla pudding.

9). "Sweet Lullaby"...more Freeman front-and-center, not bad, but you won;t be paying 99 cents to add it to your iPod.

10). "Jet Set"...the first electric guitar soling from Freeman on the album, but unlike the standout tracks on the last few albums, it never really catches fire.

11). "Love Story"...the standout track, but on an album featuring songs as weak as this one, it's not saying much. More electric Freeman.

Overall, the album is better than "Let It Ripp" and anything that followed. The problem is that unlike Let It Ripp, Wild Card and 20th Anniversary, there isn't a single killer track.

To be fair, it paints a much brighter picture of the band's future than I would have imagined, because the loud horns / Santana thing was as played out as played out can get.

Maybe it's time for Freeman to collaborate with some outside songwriters...and by that I mean any musician who has never played with the band. Fresh perspective, fresh compositions to challenge what we know are talented musicians, but who are also in a ho-hum holding pattern.

2 stars and an "E" for effort. Hey, that's better than flunking out, right?

This one, just like their recent albums, is full of easy-listening, smooth tunes, but unlike their early works, how can I say it...if you hear tracks such as "Sahara", "Tourist in Paradise", or "Brave New World" among other smooth jazz music, they just stand out with that unique and passionate Rippingtons sound; but you won't find that in this album - if it's not labeled, you could think "Paris Groove" was by Peter White, "One Step Closer" by Steve Cole, or "I Still Believe" by Euge Groove...

I prefer their works in the 90's under GRP label. Personally my most fav is Sahara which really stands out with "their brilliant signature texturing and soundscaping" (as the other reviewer said). The music here is agreeable, but kind of "flat". It is smooth enough, but doesn't sound like Rippingtons anymore.

If you're looking for echoes from the Rippingtons' glory days of Black Diamond, Curves Ahead, and Topaz, you won't find it here. This CD was pleasant enough but I always expect greatness from this band and lately have been extremely disappointed. There is no signature tune here, although a few songs remind you of the greatness these guys used to have. "Modern Art" "Body Art" and "Age of Reason" are probably the best tracks on this CD. The rest pretty much seem like filler to me. When I first put the CD in and started listening, I was encouraged by Track #1 (Modern Art) but I'm a longtime Ripps fan. When #2 ("Paris Groove")started playing I was reminded of the guitar sound of Ken Navarro, who I like a lot. But the accordion was a total turnoff. Ripps, what are you thinking? Cut #3 "Black Book" started off with some promise, but then just chugged along at the same pace and same groove. Never moved anywhere. Almost sounded a lot like Hiroshima. Do you notice a theme here? The Rippingtons used to have their own distinctive sound. Now, you can spot other musicians in their style. Not a good thing. #4 Pastels on Canvas never went anywhere either...I noticed that the tune was written by Russ Freeman's wife, as was another cut on this CD. Maybe a good idea to use your own stuff and keep your spouse's work separate? Cut #5 would have been a disaster without Jeff Kashiwa's sax work...almost sounded like smooth jazz bubblegum. #6 I still Believe was another co-work between Russ and Yaredt Leon, his wife. Slow and simple...not much there, really. By the time cuts #7 and 8 came around, I was desperate for energy, enthusiasm and passion. These are the two best tracks. Cut #8 "Age of Reason" comes closest to the traditional Rippingtons sound on Curves ahead. Cut #9 Sweet Lullaby seems to be another slow, guitar oriented Russ Freeman showcase. Nice and somewhat poignant. Cut #10 Jet Set seems to have been stolen from a Jeff Lorber album, that's exactly what this piano-centric cut reminded me of. Finally, Love Story #11 with Rick Braun was tender, smooth jazz-ish..slow...definitely not powerful at all...but laid back...It's hard for me to put a handle or label on this CD. I wanted to like it. I really wanted to like it but I didn't love it. The order of the tracks on the CD seemed confusing. The accordion was stupid. And, maybe this is a tell tale sign of the current state of affairs for the Ripps, all their songs just faded out. There seems no creativity there to me. But, at least Jeff Kashiwa is back, and there ARE NO VOCALS!!!! That, to me, is a major victory. Three stars, that's it. They could do better.

The Rippingtons were the gods of contemporary instrumental music for a few years...at least in my eyes. They couldn't be touched in terms of artistry, creativity or execution. Russ Freeman was not only writing amazing music, but the hot arrangements and his innovative guitar work were beyond compare. But sometime shortly after Live in L.A., they either ran out of ideas (admittedly, it does happen to most great artists at some point), or (more likely) simply realized that they didn't have to try to be successful in the new era of smooth jazz (smooth jazz is to this century what "elevator music" was to the Sixties and Seventies...music with all the interesting edges ground off). They're not even trying anymore, and they'll never see another dollar of mine because of it. Pathetic. They "had me at" Moonlighting...but lost me after Live in L.A.

recently purchased 'modern art' by the rippingtons.......as usual, a great cd....I must say all of the songs on the cd are superb.......purchased it @ amazon.com and am so pleased with the delivery time...

as someone who has loved some of the Ripps earlier works I find what I heard on the sample tracks to be rather bland. I've heard better and more energetic music from the Ripps but amazingly enough I'm not surprised some here gave it 5 stars. Very smooth jazz that doesn't require much thinking. I'll be skipping this release.

Why are you doing this,it cirtainly cant be for the money. Ive watched you live in concert for a many years and listened to you try to recreate the sound that put your band on top years ago and its just not there anymore. This time i have to write you off and get my GRP disc's out and just remember the years of flawless bliss you gave me. Maybe you should get together with Jay Beckenstein and others who just seem to have lost their creative edge and come up with the masterpiece of jazz that the people are waiting for, this could take some years to create but we are willing to wait.