Customer Reviews

Underground

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

 

 

Courtney is definately one of the best things to come out of the home scene for some time. loads of talent and the ability to add an extra twist to the sound. Saw the act in Milton Keynes a month ago. If you get the chance to see this guy do it live - TAKE IT

Great album. Played it to death. From the ethereal "Invisible" and "Silver Surfer" to the hard funk of "Oneness of Mind" and "Underground" - a great fusion of hip hop and jazz. And the accompaniment CANNOT be overlooked, particularly Cyrus Chestnut and his work on the electric piano. And oh yeah, if you like driving with all the windows down, sunroof open, or top down, with the stereo going, I think you'll like this one.

I have to disagree with the 5-star enthusiasm of the other reviewers here. Underground is a very solid album, no doubt, and CP definitely does a good job of combining the sax work with some nice new crunchy beats and bright and boppy melodies. The problem is, though, after the singular brilliance of Modern Day Jazz Stories, this one sounds a little bland and formulaic, like it's trying but can't quite get there. From the sound-effect intro and outro down to the length and style and number of the songs, Underground is heavily patterned after its successful predecessor, but doesn't reach the same emotional vistas. The tunes move along as they should, but I'm starting to recognize the sax riffs a little too well. And compositionally/improvisationally, there's nothing here that even begins to approach the soaring heights and moodiness of 'Dah blessing' or 'Creation stopper'. Too bright and happy for me. I guess we all get a little mellower when we have kids. Nonetheless, I've bought three copies of Underground so far and have seen him live from New Orleans to Amsterdam, and I can say that the live experience makes all of this album talk pretty irrelevant. His band can hardly keep up with him!

Courtney Pine has reinvented himself yet again with an outstanding synthesis of modern jazz and hip hop. With Cyrus Chestnut at the keyboards, he explores new music landscapes that are innovative and expressive but never overdone or predictable. This album gets my choice for best modern jazz album for the past few years.

This is a great CD. The range is essential to this album - from sittin-down-sippin-a-drink relaxers like "Invisible" to house-shakin party jazz-funk like "Modern Day Jazz", each track is a delight. One of the great things about this album is the way that the hip-hop-influenced thick rhythms and bass found on many tracks is never overdone to the point of boredom...the best elements from each influence are brought together with Serious Skill. A great album all around.

You can see the smoke drifting around the room on this album. Full of evocative and introspective sounds without a hint of over-indulgence. Just what you need to put on at night, with the rain beating against your windows.

This is a thoughtful record. Try his "Modern day jazz stories" also.

. . . but not without its missteps. These come when Pine goes for too slick a sound, as, for example, the two vocal numbers featuring one Jhelisa, or when he gets too hip-hoppy, as in "Silver Surfer." Pine also has a tendency to overplay, though one must admit he has monster chops, especially on soprano, although I like his tenor playing better. And he's also quite good on bass clarinet, reminding one of Chico Freeman

The most successful tracks are the world-jazz-funk numbers like "Oneness of Mind," "The Book of . . . [The Dead]," and "Children of the Sun." Cyrus Chestnut on piano is very impressive throughout, as is "Tain" on drums, except when he's relegated to playing faux urban beats (and he can even make these interesting, as on the title cut). And I like Nick Payton's trumpet spots a lot.

All in all, generally very successful, if not absolutely essential, music. Worth checking out.