Customer Reviews

Prime

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

 

 

I've followed Oregon's career from the beginning, and though one might guess that after thirty-five years (and with three of the original members still present), the band might have lost its edge, 'tain't so. Oregon's brand of jazz is timeless. Ralph Towner's guitar and keyboard work are as fluent as ever, Paul McCandless's reed improvisations are endlessly inventive, Glen Moore's imaginative bass lines provide far, far more than just support, and the propulsive drums and percussion of Mark Walker (the "newer kid" in the group) makes the rhythm sizzle and simmer as needed. The compositions, most of them Towner's (with a few gems by Moore), are all compelling and offer a wide range of melodies and rhythms in which the band can work its magic. The sound engineering equals the performances, and the vitality and presence is astonishing. A real triumph that makes me look forward to the *next* thirty-five years.

Well, although I had seen them this year and they were performing at a very high level, I'm afraid I still had only moderate expectations for their next record, based on some vague fear about Ralph Towner's compositions, or their age, or god knows what else. Well, this recording is superb, the compositions are as strong as ever, and this is certainly the best recorded representation of Marc Walker's playing (and his affect on group sound), to date. Their old ECM engineer apparently is the one responsible for this beautifully-recorded gem. He has done an amazing job of capturing their live dynamic, which just leaps out of the recording.

Also, if you can, get the iTunes (only?) download of an additional track which they should have included here: "The Glide".

I have every CD of Oregon's 36 year recording career, all of the Ralph Towner CD's, and although the absence of Colin Walcott was/is a great loss to the band and it's sound and style, I can say without hesitation, that this CD can be heralded as the return to form. This is the CD that gives one the feeling that the more recent addition of Mark Walker on percussion is now an airtight, fully intergrated sound that has the feeling of completeness that has not been felt since the loss of Walcott. The newer material is not quite as abstract as the Walcott era music, but it is charming, invigorating, and full of life force. Do not let the pictures of the "old men" on the cover fool you - these guys got it, have it, and will play circles around any band of twenty somethings without pause or relent. And besides, I'm a sucker for an album full of Towner material.

This is a review of the sound quality only, not the music. Generally the sound quality on this disk is good. There has definitely been too much compression applied to 3 songs, and just a bit too much on the rest of the tracks. It would have been an outstanding sounding record with that over-compression. It just distorts the instruments enough and takes away enough punch to drop it down in my rating. Don't get me wrong, this isn't an example of a 'loudness war' victim (google loudness war for more info). Rather, it's more of a loudness war bystander.

There are some things about this album that prevent it being one of Oregon's best.
The first is that with very few exceptions, the tempo of each track seems very "hurried". This is particularly evident in three of the final five tracks making up the Monterey Suite (Cleguerec being the main exception & which goes so far the other way as to be a rather boring percussion/synthesiser tone poem);
Next, there's something very formulaic in this hurriedness, usually involving overly propulsive guitar & equally propulsive winds (& sometimes piano) with very little change of mood, dynamic or colour. On "Hoedown" the same comment applies writ large except that the bass & percussion are the sole instruments. In "Castle Walk" there IS a break in the dynamic but not only does it seem a little contrived but also ultimately no fresh ideas spring from it.
Then there's the oboe - as a general comment it is played simply way too high way too often.
Happily, there are four tracks which belie the above description &, indeed with the exception of the aforementioned Cleguerec these are the standouts - Toledo with a lovely, dancing ostinato rhythm being definitely the pick.
I could be wrong here but I suspect the reason for a lot of 5 star ratings is the relief/joy felt by many Oregon fans when Prime was released. This Band IS undoubtedly worth listening to but they have recorded much better albums than this (eg. Crossing, which incidentally features the original & superior recording of Pepe Linque & the group's latest album, 1000 Kilometres). I'd check these out before "Prime".

I have been a fan of Oregon's since they surprised me at the 1974 Newport in New York jazz festival. They walked onto the Avery Fischer Hall stage in saffron gowns, grabbing their tablas, sitars, and other Indian instruments, and all I could say to myself was, "Oh, THIS won't be jazz." Their electrifying performance proved otherwise. It was the best set I heard in the entire festival, and Oregon went on to be a progressive force in jazz for many years afterward. However, I found "Prime" to be much like the homogenized music that populates the "smooth jazz" airways. Though their performances are still of virtuoso quality, the compositions on this CD struck me as formless, generic and unmemorable. I will always appreciate Oregon's body of work, but I cannot recommend this CD as one that is representative of their prodigious gifts.

This CD represents what Oregon sounds like now. Oregon is ever-changing and refuses to be stuck in the past. Collin Walcot was a master, but sadly for all of us, he is no longer with us. Unfortunately, some fans just can't move on...Mark Walker was invited to join the band 10 years ago, and is not attempting to play what Collin or Trilok played. Each new ingredient adds a different taste. Enjoy...

I have every recording Oregon has ever made in their 35 year career - - they have been a enormous pool of inspration for me (also a musician) to draw from. Frankly, I think the difference between this group and most other groups (jazz, pop, classical) is that the music these remarkable musicians create actually FEEDS them creatively. I think in a creative situation like this - - it is ageless and timeless. Instead of being performers "burned out" by being led around by industry know-nothings - - Oregon has blazed a trail which has forever left a unique mark on modern music and on my heart.......now, about this Mark Walker guy! :-)

Buy this record - - lovely writing and playing from the boys.

Mark Walker is the most predictable percussionist I have ever come across. What he is doing in Oregon is a mystery that I shall never understand ... Are you new to Oregon? Then start from the beginning. Why my 5 stars to this disk then? Because I did start from the beginning!

CIB