Bela Fleck, Flecktones - Outbound
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Free Music Notes for Outbound
Free Music Review: We want the old Bela back!
Hit: 3 Stars
U2 has found out the hard way that people want to hear their "original" sound. I hope Bela learns that soon, and I hope Futch decides to stop his whinny singing and they get back to great instrumentalization.Free Music Review: not béla's best
Hit: 2 Stars
I am both a fan and admirer of Béla Fleck as a musician and as a composer. I own numerous recordings of his music as both a frontman and a sideman. I appreciate what he has done for the introduction and establishment of the banjo in the modern musical palette. Thus, in the context of the aforementioned, I was both shocked and unnerved that I found one of his most recent efforts the way I did.
To put it succinctly, this album can best be described as cultural clashing. There are simply too many musicians simultaneously playing on this album; the whole of the album musically is like walking into a crowded restaurant. If Béla would thin his bill a good deal more, it would more than likely make the musical core of his band more digestible (and possibly save money for him, rather than needing to invest in a sound board the length of a small schooner). If one is interested in hearing Béla's group in a more open environment, he or she should check out the Flecktones' earlier efforts, such as UFO TOFU).
Also, as previously stated, this album falls prey to the quite common belief that the incorporation of various cultures in music is a sure-fire way to be "hip" (in such a manner that the more obscure the culture is, the more effective it is). I'm sorry, Béla, but there are several musical postulates that need to be considered before next recording session: tabla clashes with banjo. Tabla clashes with Aaron Copland. Smooth jazz clashes with Tuvaluan throat singing. Futureman clashes with everything. 30 seconds of steel pan interlude will do nothing but sound out of context. In order to appreciate these cultures, one needs to appreciate them individually. For tabla playing, consider the recordings of Zakir Hussain. For steel pan, consider modern steel pan virtuoso Liam Teague. For modern banjo interpretation, consider Béla Fleck's latest project: his duet effort with double-bassist Edgar Meyer (who, coincidentally enough, appeared on Outbound as well), Music for Two. For Tuvaluan throat singing, consider the phrase "practical application of talent."
Furthermore, Béla's individual playing is almost buried by the drone of the other musicians. This teaches us the limits of the banjo in modern music: it sounds best in a small group setting, such as a quartet (or a duet, as stated above).
In conclusion, this album came as a major disappointment to me both as a musician and a fan. This album would make a great present for one who enjoys top 40 and/or pop music--preferably, that one should not have heard of Aaron Copland, nor his orchestral work Rodeo (of which "Hoedown" is the finale). Also, this equates well with one who is deadset on appreciating all musical cultures--at once.
2 stars.
Free Music Review: whats going on here
Hit: 2 Stars
I do not understand why this cd sounds more like kenny g than the flecktones. This sounds like something that should be played on the elevator at sears. I loved all their previous albums but I just don't get this one. They should remain strictly instrumental and this thing that future man uses the royale or whatever makes me want to puke. How can you go from Sinister minister on live art to the songs on this album. I know that a bands music should evolve but this is just outrageous. I saw them live a little while ago and they were awesome except for the songs where future man sung and that damn machine he uses with him humming in the background. For anyone who does not have this album and is a fleckotnes fan I advise you not to buy it because if you are like me you will be embarrassed to even have it in your cd player.