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anticipation · 09-24-2009, 07:41 PM

Treasures by Lloyd McNeill

Track listing:
Griot
As a Matter of Fact
Salvation Army
You Don't Know What Love Is

I picked up this album about two months ago during the summer doldrums on a whim. I wasnt expecting anything too mindblowing, and mostly I just liked the album art which seems to be my only criteria for trying new things these days. So imagine my surprise when I discovered that not only did I like this album immensely, but that I now consider it one of the best jazz records I've ever heard. Contrary to popular opinion on these boards, which might label me as "one of those screamo guys who makes stupid jokes", I have an extensive and longstanding history with jazz. I feel comfortable interpreting it, listening to it, and even talking about it. This is an album that I could talk about for days and days, but I'll limit it to just this post.

The first thing I thought about McNeill's first track, Griot, was that it was long. Probably too long. Way too long. It's almost 17 minutes of pure jazz flute experimentation mixed in with samba and stylistic influences from who knows what lost Amazonian tribe McNeill decided to emulate. Some of it is good, some of it is dreadful, but most of it is just average to me. What really stands out is the bass, which is funky and soulful despite the slighty macabre attitude of the piece. It's an epic song for sure, but maybe not one you'll want to press replay for after it's finished. I have to admit I couldn't even bear to finish the track, it just seemed so repetitve and boring that I contemplated just chucking the whole album out. Thankfully I didn't.

Next is As a Matter of Fact, a far more fusiony piece that has McNeill stretching his flute skills to the max. It's the kind of music you might see in a Brazilian karate film, it's upbeat and wildly melodic. The frantic notes collide with themselves and create a kind of awkward harmony that eventually gives way to some more structured piano work. Yet again the bass impresses me, and the contrast between the bending bass notes and delicate keys is fantastic.

On to Salvation Army. Now, some of you may be wondering how I can regard this album so highly when I think half the album is average at best. That's where Salvation Army comes in. It's beautiful. Absolutely stunning work by the pianist and McNeill reflect the South American attitude of the album. The flute doesn't seem forced down your throat, instead it rushes back and forth in a dazzling spectrum of highs and lows. The bass line is infectious, almost maddening in it's ability to get stuck in your head through simplistic repetition. I could listen to this song for the rest of my life. I love how the drums and piano both add little flourishes, and the solo keys part is brilliant. Understated but still elegantly funky, I can picture in my mind the way it would look if they performed live because of how expressive this music is. In short, I want to be this song.

Having the unenviable distinction of following Salvation Army is You Dont Know What Love Is. Very similar to the first track, except this song is much more lavish and sensuous. It's very romantic in the way McNeill crafts tender melodies on his flute, while a Blue Note-esque bass line pervades. It's a great way to go out in style. However, I'd prefer if it wasn't so damn long. McNeill doesn't radically change his style anywhere throughout the song, so what's the point of neverending repetitive intervals?*

I really encourage you to get this album, it's too good to pass up. Disregard my negative statements and see for yourself how underrated jazz flute really is.

09-24-2009, 07:41 PM	#29 (permalink)
anticipation Music Addict Join Date: Jun 2005 Posts: 3,561	Treasures by Lloyd McNeill Track listing: Griot As a Matter of Fact Salvation Army You Don't Know What Love Is I picked up this album about two months ago during the summer doldrums on a whim. I wasnt expecting anything too mindblowing, and mostly I just liked the album art which seems to be my only criteria for trying new things these days. So imagine my surprise when I discovered that not only did I like this album immensely, but that I now consider it one of the best jazz records I've ever heard. Contrary to popular opinion on these boards, which might label me as "one of those screamo guys who makes stupid jokes", I have an extensive and longstanding history with jazz. I feel comfortable interpreting it, listening to it, and even talking about it. This is an album that I could talk about for days and days, but I'll limit it to just this post. The first thing I thought about McNeill's first track, Griot, was that it was long. Probably too long. Way too long. It's almost 17 minutes of pure jazz flute experimentation mixed in with samba and stylistic influences from who knows what lost Amazonian tribe McNeill decided to emulate. Some of it is good, some of it is dreadful, but most of it is just average to me. What really stands out is the bass, which is funky and soulful despite the slighty macabre attitude of the piece. It's an epic song for sure, but maybe not one you'll want to press replay for after it's finished. I have to admit I couldn't even bear to finish the track, it just seemed so repetitve and boring that I contemplated just chucking the whole album out. Thankfully I didn't. Next is As a Matter of Fact, a far more fusiony piece that has McNeill stretching his flute skills to the max. It's the kind of music you might see in a Brazilian karate film, it's upbeat and wildly melodic. The frantic notes collide with themselves and create a kind of awkward harmony that eventually gives way to some more structured piano work. Yet again the bass impresses me, and the contrast between the bending bass notes and delicate keys is fantastic. On to Salvation Army. Now, some of you may be wondering how I can regard this album so highly when I think half the album is average at best. That's where Salvation Army comes in. It's beautiful. Absolutely stunning work by the pianist and McNeill reflect the South American attitude of the album. The flute doesn't seem forced down your throat, instead it rushes back and forth in a dazzling spectrum of highs and lows. The bass line is infectious, almost maddening in it's ability to get stuck in your head through simplistic repetition. I could listen to this song for the rest of my life. I love how the drums and piano both add little flourishes, and the solo keys part is brilliant. Understated but still elegantly funky, I can picture in my mind the way it would look if they performed live because of how expressive this music is. In short, I want to be this song. Having the unenviable distinction of following Salvation Army is You Dont Know What Love Is. Very similar to the first track, except this song is much more lavish and sensuous. It's very romantic in the way McNeill crafts tender melodies on his flute, while a Blue Note-esque bass line pervades. It's a great way to go out in style. However, I'd prefer if it wasn't so damn long. McNeill doesn't radically change his style anywhere throughout the song, so what's the point of neverending repetitive intervals?* I really encourage you to get this album, it's too good to pass up. Disregard my negative statements and see for yourself how underrated jazz flute really is.