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Omar Rodriguez Import
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Top Customer Reviews
The only things that differentiate Omar from his more advanced forebear, John McLaughlin, is that Omar is more concerned with Hispanic rhythms (which is great!) and that where McLaughlin offers exotic scales in strategic placement over exotic modes, taking the guitar to places it had never been before (hear him on the albums from Miles Davis's _Bitches Brew_ to around the time of _Jack Johnson_ and also on anything by Mahavishnu Orchestra), Omar runs out of scalar sophistication and instead resorts to formless dissonance and outright noise. Now, I am a big fan of formless dissonance and outright noise (I am the biggest fan of Stockhausen that I have ever known), but on these Latin fusion jams, these strategies turn into a distraction after the fifth time or so Omar resorts to them after some particularly refreshing guitar workouts.
What I am trying to say is this: This album is a decent jam session. It is far short of the voice of God, though. The musicianship, outside of what I have spoken of in regards to Omar's leads, is all in all decent. Another highlight is Adrian Terraza's horn contributions. I hope he continues to be highlighted more in Mars Volta. The rest of the musicianship I can take or leave. Omar's brother is a competent drummer, but only that.Read more ›
It is also fair to say this album carries less production quality and vision found in The Mars Volta, lacking a cohesive flow from start to finish, sometimes driving the senses mad.
Regardless, this album sheds light on The Mars Volta's creative evolution--most notably, the vision frontman Omar Rodriguez embodies with the addition of Adrián Terrazas-González, who plays flute and saxophone. For the first time in his career, Omar finds a musician who can carry the melody of a song in the classic jazz fashion. This page features several comparisons to Miles Davis, arguably the greatest and most creative jazz trumpet player of the 20th Century. With recent efforts, Omar is the Miles Davis of guitar.
After refusing to work with Rick Rubin, who helped produce The Volta's 2003 album "Deloused in the Comatorium," Omar bought homes in Amsterdam and Australia, working relentlessly to record 2005's "Frances The Mute," where Adrián made his first appearance. He joined the band on its 2005 Frances tour.
Omar formed the quintet by the year's fall. This yellow-colored, simple record is the result. The track names and liner notes are written in Dutch. Missing is the collaboration with Damo Suzuki, who sings scat-style on a 24-minute single released in December. Two tracks are direct inspiration for tracks on The Volta's 2006 record "Amputechture": "Vondelpark bij nacht" for "El Ciervo Vulnerado," and "Jacob Van Lennepkade" for "Viscera Eyes."
If you want a preview of their sound, visit YouTube or the myspace profile for Omar's record label, Gold Standard Labs.
Most Recent Customer Reviews
This is not a Mars Volta album, and it is not the experimental rock of Manual Dexterity. So what _is_ it? It is comparable to Miles Davis' electric period. Read morePublished on April 22, 2006 by Clint Jones
Man I love this cd just got it yesterday and it rocks. It's a total Jam cd just pop it in and groove to the awesome sounds or Mr.Roriguez-Lopez. Read morePublished on April 20, 2006 by Joseph W. Peguero II
When i heard the first track off of this album i was far from disspointed. Omar Rodriguez (the modern day jimi hendrix) ceases to amaze the musical world. Read morePublished on March 4, 2006 by Ravi