Lars Ekström Line-up - Fair Weather (CD, Album)

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Music CDs Weather Report. Remastered CDs Weather Report. Columbia Weather Report CDs. Album CDs Weather Report. While this latter is, obviously, exclusively made up of covers of jazzy pop songs from "our" formative yearsthe former two are the two releases Pat has done in the 21st Century that stray closest to proggy jazz fusion.

His other releases from this century have all been more straightforward jazz--or, at least, jazz lite--not prog. First half jazz; incredible proggy finish. Still, the style of the guitar play is quite reminiscent of Mr. Montgomery--even the melody choices harkening back to the s. A perfect composition with flawless performances but, is it prog? Is it even jazz fusion? Methinks it's almost straightforward jazz--or at least Pat Metheny jazz. And there's nothing here that's even remotely experimental or innovative.

Again, there are very strong hints of Radiohead influence here. Another perfect composition with flawless performances that definitely satisfies the proghead in me. Nice simple piano solo in the third minute ending just as Pat switches to his signature "synth horn" axe sound for a somewhat routine and disappointing uninspired?

Burt Bacharach-like time signature shift with significant orchestral inputs follow before the music returns to more subdued, delicate realms in the sixth minute. This plays out gently, delicately, so beautifully to the end. So s-ish! To me, this is just straight jazz, nothing even remotely resembling prog or jazz fusion--and it's very standard though extremely proficient Pat Metheny fare. Pat on nylon string guitar enters after 90 seconds and brushed drums, punctuating double bass, and harmonica join in, with the harmonica taking the lead for the third minute.

Pat joins in counterpointing Gregoire Maret's Toots Thielemans-like harmonica play. Pat is obviously feeling quite nostalgiac. Using his Wes Montgomery sound and style.

His playing is still great but not as crisp or inspired as his prime. The support team is very solid. All jazz here, no prog. Isn't that what Album) is all about: continually playing "new" variations on the past masters?

Most interesting for the drumming and luscious arrangements of the beautiful chord progressions, not for the guitar "leads.

Still gorgeous but nothing new here other than a different decade and a different orchestra. Having been a Pat Metheny fan for over 45 years, having collected almost everything he's contributed to, and having seen him in concert several times in the s Album) s, I feel that I know Pat's styles, and patterns very well.

There is nothing new or superlatively innovative hear. It is a fairly typical Pat Metheny album with exceptional sound and performances on compositions of a grand master. An album of Pat's usual elegant music that does happen to contain one and a half proggy, somewhat experimental songs. Metivuri Dumba Damba Shedzakhili Elesa Mirangula Moaning Racha Maglonia Gelato Kartlos Blues Gurian Lullaby Lazhghvash Tseruli Total Time — I Don't Believe 6.

Plea Bargain 7. Things 8. Slowly for Awhile Total time The Norwegian NuJazz leaders are back with another album displaying the progression of their sound. The same rhythm patterns as used in 's excellent Starfire are this time enhanced by new, fresh sounds from both electronica as well as electronically treated voices and instruments.

Soft, breathy horns and delicate electric guitar play continue into the seventh minute as a jazzy melody is built and embellished. Then, early in the eighth minute, all rhythm instruments cease while horns and guitars continue--kind of recreating the introductory soundscape--until when the rhythmists return and the song reconnects with the melodic weave from earlier.

All this is interrupted with a quite radical detour in the tenth minute to what sounds like a bridge but then becomes more like the drummer and bass player have gotten stuck in short time loop. Eventually they break the loop and emerge onto a landscape of colorful and joyous sunlight as multiple synths, guitars, and voices celebrate the alien sunset arrival, the end of the world, and the peaceful transition of all life forms to their simplified energetic sources.

Very engaging main weave. Despite a few brief dream-like interludes between horn-dominated sections, this is the bulk of the song. Never thought I'd dis a JJ song, but this one does nothing for me.

Too bad it lacks any interesting or even moderate development. A key change in the third minute! The dropping out of all non-rhythm track instruments around the five-minute and seven-minute marks!

A synthesizer solo in the bass end during the sixth minute! Some increased filler in the treble clef during the seventh minute! The music corresponding to the titles seem mismatched to me. I hear very little Tomita in the opening song. I hear very little Nigerian melody or rhythms in the supposed tribute to Fela Kuti, "The Shrine," and I get very little of a "symphony" feel from the overall feel and flow of the album.

Prosthetic full-on djent-metal! I actualy love the distortion effect on Ross's voice--and the opening vocal section. Not bad. These plastic-sounding drums are so annoying. Britain's Got Talent?! Tears for Lars Ekström Line-up - Fair Weather (CD This is Haken. The chorus at is outright lame. The sparse slowdown section in the eighth minute is spoiled by that childish Hallowe'en bass line. Too bad cuz there's some other good stuff going on here voice, keys, guitar, drums.

Wish it was better--more compelling. Not a bad song--until That guitar riff is horrid--ruins it! But they couldn't let it go--had to burst into the militaristic heavy metal music. I'm not sure I can take these plastic drums any more. I'm going to have to go listen to some nice s psychedelia just to get over the trauma! They do a fairly good job of it, too! Doesn't save the epic suite, but gives me a shred of lingering hope. This year's model shows a continued addiction to loud, violent forms of human expression.

And it's so like several other contemporary djenty metal bands. I guess I've been waiting for their album of chamber music. Some completely solo ideas presented by the prolific prog maestro from Ukraine offers some pleasant, upbeat fluff to distract people from the heaviness of the COVID-era.

And there is definitely nothing new, exciting, or innovative going on here. The version of "Marshmallow" 3. It sure goes by much faster than the beautiful long version! There's a lot of ear candy here--and it's certainly better than Birds of Paradise--but some of it feels overly familiar, so let's let it percolate a bit before deciding on its final place in Prog World.

Eighty-one minutes of intricately composed and performed music that, unfortunately, I feel I've all heard before. I mean, to my ears, there is never any doubt in my mind, no matter where I "drop the needle," that I'm listening to Nightwish. I love that they think that they're trying to push the boundaries on what they've already done but, in the end, it's still just variations on exactly that: stuff they've already done.

This release generated a lot of excitement in the prog and metal communities. To me, it sounds like Nightwish being. Tight, even virtuosic performances of strong compositions, it's just that I don't hear anything new or innovative. Even the all-orchestrated second disc is not anything that the band hasn't done before. Maybe it's more polished and concise this time at 31 minutes but it was fresher the first time. Floor is amazing. Tuomas is amazing. Emppu is amazing. Troy Donockley is amazing.

Marco and Kai are amazing. But these people are always amazing--doing exactly the same thing that their doing here. I think it's time they pull a "Remain in Light" and all do a musical chairs instrument-switch. Then let's see what comes out of Nightwish! Excellent and amazing but I'm tired and old. I need something fresh and unusual to pique my interest.

But of course, I can't help but recommend it to you--for you to make your own judgments. It probably deserves four stars, so. CD 1 1. Music 2. Noise 3. Shoemaker 4. How's the Heart? Tribal 9.

Vista II. The Blue III. The Green IV. Moors V. Aurorae VI. Quiet as the Snow VII. Anthropocene incl. Ad Astra Total Time A quartet from The Netherlands Lars Ekström Line-up - Fair Weather (CD music to express their interpretations of the works of Edvard Munch--exploring one of the sure-fire domains of the potential of progressive rock: the interpretation of other art forms through music.

A little too saccharine and simple for my tastes. Still more introductory and cinematic, not a fully formed song. Nice solo instrument palette though most everything other than guitars and drums are keyboard generated.

Flutes only enhance the angelic feel. Once again, however, this song feels incomplete. Still, a top three song for me. Nice Moog soloing over the top. Another top three song. Nice tune. Elena's voice sounds like a poor Paula Cole. This collaboration of some mature folk rockers will entice lovers of the old stuff of bands like Horslips, Jethro Tull and even Uriah Heep. The sea-shanty section in the seventh minute, too. Nothing new or too exciting here. Lead singer Gav Bromfield tries to be powerful and emotional, but it just doesn't feel authentic.

Even the flute is too tight and conservative. I like bass being front and center but I'm not feeling the connection of his lines to the subject matter. The drums are dull and the guitar work is totally supplemental. The chorus sections weaken the song considerable. I love the subtle "cave"-like background vocals lurking in the background like ghosts--very cool.

I find myself wondering what this Album) would sound like without any bass or drums! Sounds like a Jethro Tull rehearsal. This song is by far the most adventurous and polished song on the album. The bass holds down the rhythm and flow, the guitars and drums do Van Morrison-like jazz-scatting around, and the flutes and vocals provide some nice melodic threads into the overall weave. Easily the best song on the album.

During the mandolin solo in the middle it sounds like everyone wants to launch into a rolicking uptempo jam, but just can't figure out how to do it. The entrance of electric guitar power chords helps to initiate the move--and this pace feels much more appropriate for this palette of instruments.

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