Michael Shrieve Fascination
- Released: July 24, 2001
- Originally Released: 2001
- Label: CMP
Q - 3/95, p.1043 Stars - Good - "...Guitarist Bill Frisell and organist Wayne Horvitz complete a nimble, semi-improvisatory trio, using Shrieve's charts as a springboard for unpredictable wandering. Opting for organic warmth, the combo slink into gentle grooves..."
Down Beat - 5/95, pp.48-493.5 Stars - Good Plus - "...jam-oriented session....The star of the show is Frisell, whose marvelous versatility is highlighted on tracks ranging from funk to punk to freebop to countrified ballads....FASCINATION is daring, definitely different and a must for Frisell freaks..."
Song previews provided courtesy of iTunes
Personnel: Michael Shrieve (drums); Bill Frisell (guitar); Wayne Horvitz (organ).
Recorded at Bob Lang Studios, Seattle, Washington in November 1993.
It was drummer Michael Shrieve who first introduced Carlos Santana to the music of John Coltrane and Miles Davis, precipitating the guitarist's progressive new directions on CARAVANSERAI. Perhaps best remembered for his solo turn on Santana's "Soul Sacrifice" during their famous Woodstock set, the drummer has had a long and varied career, both inside the beltway of pop and on the outer fringes of new age and electric jazz.
Shrieve's own Novo Combo was a progressive power-pop band, and subsequent projects found him expanding the electronic percussion vocabulary in a solo setting and creating progressive new sounds with cutting edge musicians such as synthesizer visionary Stomu Yamashta and bassist Jonas Hellborg. Shrieve draws upon many of these associations in general and the inspiration of the original Tony Williams Lifetime in particular to fashion his futuristic organ trio on FASCINATION.
Shrieve's songlike, interactive drumming is the centerpiece of FASCINATION, where he's joined by organist Wayne Horvitz and guitarist Bill Frisell. The ritualistic backbeats of "Sam The Man" and "Circus! Circus!" set the tone for their three-way explorations, even as "Tell Me Everything" and "Soundings In Fathoms" venture into ambient territory. Frisell surfs confidently above a droning 4/4 groove on "The Glass Tent," as Horvitz provides waves of Hammond textures. The title tune and "The Great Ambassador" explore themes bordering on a blues feeling, while Frisell's "Foxy Lady" quotes and orientalisms on "Jig Saw" (featuring 12-string guitar) inspire Shrieve and Horvitz to stretch out.
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