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Tal Wilkenfeld is a musical marvel; the kind of dynamic young talent whose fresh vision and uncanny intuition puts a whole new perspective on an age-old art form. While many people know Tal as the masterly bassist with Jeff Beck and her high-profile guest appearances with legends from Mick Jagger and Prince to The Allman Bros and Herbie Hancock, music fans are about to discover an entirely new side of Tal as a vocalist, songwriter, multi-instrumentalist and producer. On her forthcoming vocal debut album, Tal’s range of talents are on full display, achieving a stunning balance between instrumental prowess and exquisite song craft, quickly captivating the ear and soul. After relocating stateside from her native Sydney, Australia at just 16-years-old, Tal made believers of rock royalty and fans with her uncommon combination of melodic sensibilities and technical prowess. Following the release of her instrumental debut, Transformation, Bass Player magazine’s readers’ choice poll in 2008 named her “The Year’s Most Exciting New Player,” and iconic bassist and producer Don Was presented her the publication’s 2013 “Young Gun Award.”
- Product Dimensions : 5.59 x 5 x 0.16 inches; 1.69 Ounces
- Manufacturer : BMG Rights Management (US) LLC
- Item model number : B07MWZ5NLN
- Original Release Date : 2019
- Date First Available : January 18, 2019
- Label : BMG Rights Management (US) LLC
- ASIN : B07MWZ5NLN
- Number of discs : 1
Best Sellers Rank:
#29,319 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #2,566 in Classic Rock (CDs & Vinyl)
- Customer Reviews:
Top reviews from the United States
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Too bad. I didn't know what to expect when I started watching some video clips of what she was doing now, in advance of the release of Love Remains, but this is so far beyond the rather rote (in my opinion) fusion of Transformation that I cannot believe anyone would prefer that she have stayed in that mode. As I listen, I think of Jeff Buckley's performances, when he would expand his set list to cover jazz standards, with guitar techniques he picked up from Gary Lucas, and play so much more than just that Leonard Cohen song with which he is popularly associated. I think of Chris Whitley's unfairly-maligned Din of Ecstasy and Terra Incognita, incorporating fuzzed out weirdness of the '90s alternative rock scene into his bluesy signature sound. Yes, there is a '90s theme here, and I'm not the first to point out the mid-'90s thing, even if I'm making different references here, but that's partly because I just don't hear Tal as a basic, post-grunge rock kid. That's not what's going on here. There is too much weirdness. In Chris Whitley's case, it came from his deep roots in the blues. In Jeff Buckley's case, it came from his fondness for old jazz, Nina Simone especially, and the influence of people like Gary Lucas. Tal? The jazz is still here, but like with Joni, you have to understand the structure to hear it.
She sings more like a jazz singer than one of those annoying, mid-90s post-grunge kids. The arrangements are more varied, and the way that her bass plays with Michael Landau and Blake Mills' guitars is nothing like what you'd hear in any remotely conventional rock group, or even in a Michael Landau project. The very idea of someone like Michael Landau playing here should, itself, tell you how unconventional this is going to be. He made his reputation as a blues-rock player, and that isn't even close to what Tal is doing. So, he's already outside HIS comfort zone.
That's the point, though. Nobody is doing anything comfortably because that's not how music gets pushed forward. Music gets pushed forward when someone decides to throw off the shackles of old conventions and mess around. That means doing things differently from how they, themselves, have done it in the past. For Tal to do it, at this stage, is brave as all get-out. But she's got the voice, unique as it is. She has the instrumental chops, and she has a vision.
The other tracks seem to be, well, sort of "teen angst" oriented. (They just sound too "popish" ) I'm sure those songs will appeal to 13 year old fans, but to her larger audience, that listened to her playing rock and jazz, she is really missing the mark.
My biggest gripe with this album is the production and mixing. It just sounds muddy. Maybe I have been listening to audiophile grade systems and albums too long, but this album's mix just seems to have a haze over it, like you are listening to it through a wall in the next room. It's not as bad as some, but it's not good either.
There is no doubt about Tal's potential as a good song writer. This is a pretty good debut album, with some decent tracks on it, but I keep thinking she can do better.
I'm not sorry I purchased it for the standout tracks, but I don't feel like writing home about it, nor will it be on my regular play list.
==>What can I say about this album, this is the first time since the mid 70s that I've sat and played an album in its entirety 3 times straight, and in the past week I've listened to is another 5 times.
Top reviews from other countries
Everything I love about good music is here - beautiful songs tastefully played by talented musicians and produced in a complementary way that lets the individual parts shine but never at the expense of the whole.
Definitely the best album I've heard so far this year. Give it a listen - it draws on a wide diversity of influences, so there's sure to be a track or two that appeal. But if you're looking for a jazz-fusion album, probably best look elsewhere.
Not at all what I had expected based on what I had seen on YouTube. Boring? Probably?
As mentioned elsewhere, the drums, the drums!!!! Dreadful mixing.
Destined to be played rather seldom.
2 stars seemed harsh...…….