Review Summary: The power of a single instrument fully realized.
For all of the talk about how Victor Wooten is a master at his craft, it's hard to believe that he was already so damn good in the mid-90s when
A Show of Hands was released. Keep in mind that this was the bassist's
debut album, and yet one listen to the technical marvel "Classical Thump" and you'd think this is at least his tenth record. Truly, Wooten's debut was proof that he was already destined to be a legend in the jazz community (and beyond), between the beautiful finger-tapped melodies of "Overjoyed" and the slap-centric masterpiece that is the title track. Granted, much of his experience at this point came from his long-standing stint in jazz fusion outfit Bela Fleck and the Flecktones, which increased his clout during the 90s when he was just getting his start. But it wasn't until
A Show of Hands that he really let loose and took the bass world by storm. But why is that?
The strength of the album lies in Victor Wooten's astonishing command of his chosen instrument; the bass is utterly at his mercy, driven to venture into a wide range of musical territory. It's not just jazz; we also hear Wooten's take on funk, classical, and even some instrumental R&B/soul with the aforementioned "Overjoyed" which happens to be a Stevie Wonder cover. Wooten rarely resorts to any unnecessary instruments or embellishments, instead simply letting the bass do the talking; if this includes the bass being the only instrument being played in the song, it's usually all the better for it. In the finger-tapped numbers, such as "Overjoyed" and "The Vision," he's somehow capable of creating a soothing and vivid atmosphere with the bass alone. Even in songs that display his technical prowess to its fullest, it's fascinating hearing Wooten juggle emotion and skill almost effortlessly. The title track starts off with ridiculously intricate slapping section, but in an instant, the bassist just jumps into a Latin section out of nowhere! It's also slapped, but very catchy and melodic at the same time. There are also a few interludes thrown in, such as the fun intro "Yo Victa!' and the more introspective prejudice-themed dialog "Not Like the Other." They're a good way to give the listener a small break in the middle of the bass madness, not to mention some extra variety.
As I said, what makes the album tick is the fact that Victor Wooten has such versatility and range with his playing. There's seemingly no room for error on such a technical showcase, but whereas most musicians would throw their basses against the wall trying to play these songs, Wooten goes the extra mile. In chord-based songs like "Medley" and "U Can't Hold No Groove" it's insane to think that everything is being done with just one instrument; as far as I know, there aren't any overdubs in the recording either. There's even a bass-only rendition of the Latin jazz classic "A Night in Tunisia" hidden in "Medley," and Wooten's able to whip out some amazing tapping skills once more. But let's talk about that masterpiece known as "Classical Thump." Yeah, this song is just absurd. Aside from the fact that there aren't many bassists with the balls to draw this much from classical music, the way the track weaves its way through so many techniques, tempos, and dynamic shifts is inspiring to any aspiring bass player (either that or it'll just inspire you to give up more quickly... whichever comes first, I suppose). In any case, it's Victor Wooten at his prime. I especially appreciate the beautiful middle section in which the song slows down for an intricately picked/tapped section that lets Wooten take a break from the crazy slapping. It's a cool little respite. The last thing I should mention is that he actually does attempt some singing throughout the record as well, most notably on "Me & My Bass Guitar" and "Justice." Granted, the former is more of a rapped vocal style, but it still gives a bit more of Wooten's personality to the music and brightens the mood of the music. The latter is a bit more interesting, as Wooten's voice is lower and more sinister; this song follows the "Not Like the Other" interlude, and includes the same touchy subjects of prejudice and injustice alongside a subdued bass performance. It's easily a highlight moment on the album.
The bass-driven sound does get somewhat tiring after fifteen songs (although some of those are interludes) but when this album delivers, it's a damn powerhouse of jazz and funk music. Even after 21 years, Victor Wooten still hasn't topped his masterful debut, and it's hard to say if he ever will. The technicality, emotion, and atmosphere all blend beautifully with each other, and serve to showcase a phenomenal talent at the height of his composing and musicianship. Truly remarkable.
