Itís been a while since anyone graced us
with a straight-ahead jazz album consisting of all original tunes, played
exclusively on electric mandolin.
In fact, has anyone ever graced us with a
straight-ahead jazz album consisting of all original tunes, played
exclusively on electric mandolin? Well, the questionís academic now:
Michael Lampertís Jacaranda is finally here and itís been worth
For the past few years Lampert, the jazz columnist for Mandolin
Quarterly, has labored in relative obscurity with gigs in Los
Angeles nightspots. This is his first recording as a bandleader. Steeped
in the vocabulary of electric jazz guitar, Lampert is perfectly capable of
doing with four strings what it takes most guys six to accomplish. He
coaxes some gorgeous licks and sweet, dark tones out of his custom Schwab solidbody. (The instrument
itself, with its bookmatched flamed maple top, honey blonde finish, and
tortoiseshell binding, is a work of art, and it figures prominently in
Nancy Weissís stunning booklet and tray card design.)
The disc kicks off with a number called "Kenís
Blue Hat." The head for this tune consists of a deceptively simple
arpeggiated theme, played twice, and then itís off to the races. Thereís
tasteful solo work by the whole ensemble: Lampert, Tim Emmons on bass,
Thomas White on drums, and a particularly nice break by Tom Bethke on
guitar. Lampert provides some understated partial chord accompaniment for
the other soloists.
Lampert visited Brazil a while back, and two of
the fruits of his journey are on this CD: "Bahiamar" and the
title track both display a strong Brazilian jazz influence, with Roberto
Vizcaino contributing some extra percussion. Listen carefully to Lampertís
exceptionally clean attack; his solo on "Jacaranda" is full of
nicely executed pull-offs and tricky rhythmic figures, with some moving
chords toward the end. And "Bahiamar" should make all but the
most terpsichoreally challenged wanna get up and dance.
All nine tracks are lovely, but my favorite was
the glowing, achingly beautiful "Ballad in D Flat." If I have a
criticism itís that Lampertís mandolin and Bethkeís guitar sound
almost too similar; itís not always easy to pick out which one youíre
listening to. Here's a hint: Each number starts with Lampert playing the
head and taking the first break, with Bethke coming in afterward. This
stuff is so mellow and relaxing, Iím tempted to just let it wash over me
instead of listening closely enough to hear the subtle differences in tone
color between the two axes. (If you think itís a crime for a mandolin to
sound like an electric guitar, Jacaranda probably isnít for you.
Heck, this Web site isnít for you. What are you doing here?)
But in Lampertís case, "mellow"
definitely doesnít equal boring. While on the whole, his compositions
are fairly understated, this ainít the inane "smooth jazz"
that causes all those traffic accidents by putting drivers to sleep.
Everythingís sophisticated, creative, and spontaneous, and there isnít
a synthesizer in sight. For a tune with some muscle on it, try
"NWLA" or "Rumplestiltskin."
Itís still awfully slim pickings out there for
lovers of jazz mandolin, particularly electric jazz mandolin. But thanks
to folks like Michael Lampert, the ball is rolling and we should be
hearing more of this great music in years to come. Jacaranda is a
fine piece of work and deserves to be in your CD player. You can order it right here at Emando.com. (It's also
available from Mid-Continent Music
or Elderly Instruments.) Show your support for a fellow
e-mando player, and pick up a copy or six.
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