EADG
05-02-2004, 05:01 PM
The bassist-acclaimed and sarcastically titled debut CD from one of modern music's most talented musicians is incidentally one of the most diverse and creative modern works to this day, from its release in 1989.
Personnel:
Stuart Hamm - Electric Bass
Mike Barsimanto - Drums
Amy Knoles - Hand Percussion
Glen Freundl, Tommy Mars, Scott Collard - Keyboards
Allan Holdsworth, Joe Satriani - Guitars
Breakdown per Track:
1) "Radio Free Albemuth"
The title track features an interesting medley of contrasting themes which still manage to compliment each other as they reprise throughout the piece. Each of the three features varying instrument use, tempos, and key signatures per station - er, theme changes.
2) "Flow My Tears..."
A repetitive yet effective new-age piece. This song begins with arpeggiated minor sixth chords in free time, which lead to the main contrapuntal bass theme. The interlude is particularly enjoyable and features a brief key modulation. Amy Knoles hand percussion is a nice addition to this piece, as is the synth melody and Satriani's guitar solo.
3) "Dr. Gradus Ad Parnassum"
One of Stuart's most challenging songs is his interpretation of classical composer Claude Debussy's solo piano composition. Featuring mostly sixteenth notes (with the exception of the half time interlude), this is some of the most impressive bass playing on the album. The melodies compliment Stu very well throughout the piece.
4) "Sexually Active"
By far the most impressive bass work on the album. This piece features a long contrapuntal bass intro which leads in tapped sextuplets with unusual chord choices which nevertheless sound melodic. The main theme has an unusually dissonant melody courtesy of the Satch, and synth which features a synthesized brass section and an organ which both compliment the piece very well. Highlights also include the transition and (of course) bass solo. The downside is the guitar solo, which is not very melodic, although technically impressive.
5) "Simple Dreams"
One of Stuart's most minimalist pieces. It is composed of a repetitive conventional bass, an organ playing the chords of the conventional bass, an overdubbed fretless bass melody, and a synth which quotes the fretless at parts. A very minor and mood setting piece, which highly contrasts the next song, which of course has to be the all-time Stu solo crowd-pleaser...
6) "Country Music (A Night In Hell)"
The second most impressive bass work on the album in featured in this song: a comical stereotype of southern bluegrass and polka music, with the twist of a 3-minute bass solo. Stu pulls out all of the stops here, managing to produce virtuoso-quality solo work involving many advanced bass techniques out of only three chords (the song is based on a C, Am, G , C progression throughout). This piece begins and ends with the experience all gigging musicians can relate to: the bizarre request by the loud heckler. One of Stuart's few pieces which can be enjoyed by almost anyone who is not a musician.
7) "Moonlight Sonata"
Stu closes with his rendition of the timeless and very recognizable Beethoven piece. Although this would have enough effect with solo bass, Scott Collard adds beautiful minimalist synth work which doubles the lowest and highest of Stuart's three (!) separate melodies. Stu manages to keep the mood of the piece in its first polyrhythmic electric bass rendition. An excellent choice to end the album.
Overall Rating: 4.75/5.
I would give all of these songs a 5 (with a few possible exceptions). The marks deducted were for the albums short playing time (approx. 35 minutes) and the situation of the track listing (I would rather "Simple Dreams" switched with "Country Music"). Don't think this takes too much from the album, however; it is still worth every cent and I would recommend it to anyone, not
just aspiring virtuoso bassists.
Personnel:
Stuart Hamm - Electric Bass
Mike Barsimanto - Drums
Amy Knoles - Hand Percussion
Glen Freundl, Tommy Mars, Scott Collard - Keyboards
Allan Holdsworth, Joe Satriani - Guitars
Breakdown per Track:
1) "Radio Free Albemuth"
The title track features an interesting medley of contrasting themes which still manage to compliment each other as they reprise throughout the piece. Each of the three features varying instrument use, tempos, and key signatures per station - er, theme changes.
2) "Flow My Tears..."
A repetitive yet effective new-age piece. This song begins with arpeggiated minor sixth chords in free time, which lead to the main contrapuntal bass theme. The interlude is particularly enjoyable and features a brief key modulation. Amy Knoles hand percussion is a nice addition to this piece, as is the synth melody and Satriani's guitar solo.
3) "Dr. Gradus Ad Parnassum"
One of Stuart's most challenging songs is his interpretation of classical composer Claude Debussy's solo piano composition. Featuring mostly sixteenth notes (with the exception of the half time interlude), this is some of the most impressive bass playing on the album. The melodies compliment Stu very well throughout the piece.
4) "Sexually Active"
By far the most impressive bass work on the album. This piece features a long contrapuntal bass intro which leads in tapped sextuplets with unusual chord choices which nevertheless sound melodic. The main theme has an unusually dissonant melody courtesy of the Satch, and synth which features a synthesized brass section and an organ which both compliment the piece very well. Highlights also include the transition and (of course) bass solo. The downside is the guitar solo, which is not very melodic, although technically impressive.
5) "Simple Dreams"
One of Stuart's most minimalist pieces. It is composed of a repetitive conventional bass, an organ playing the chords of the conventional bass, an overdubbed fretless bass melody, and a synth which quotes the fretless at parts. A very minor and mood setting piece, which highly contrasts the next song, which of course has to be the all-time Stu solo crowd-pleaser...
6) "Country Music (A Night In Hell)"
The second most impressive bass work on the album in featured in this song: a comical stereotype of southern bluegrass and polka music, with the twist of a 3-minute bass solo. Stu pulls out all of the stops here, managing to produce virtuoso-quality solo work involving many advanced bass techniques out of only three chords (the song is based on a C, Am, G , C progression throughout). This piece begins and ends with the experience all gigging musicians can relate to: the bizarre request by the loud heckler. One of Stuart's few pieces which can be enjoyed by almost anyone who is not a musician.
7) "Moonlight Sonata"
Stu closes with his rendition of the timeless and very recognizable Beethoven piece. Although this would have enough effect with solo bass, Scott Collard adds beautiful minimalist synth work which doubles the lowest and highest of Stuart's three (!) separate melodies. Stu manages to keep the mood of the piece in its first polyrhythmic electric bass rendition. An excellent choice to end the album.
Overall Rating: 4.75/5.
I would give all of these songs a 5 (with a few possible exceptions). The marks deducted were for the albums short playing time (approx. 35 minutes) and the situation of the track listing (I would rather "Simple Dreams" switched with "Country Music"). Don't think this takes too much from the album, however; it is still worth every cent and I would recommend it to anyone, not
just aspiring virtuoso bassists.