Wayne Krantz - Krantz Carlock Lefebvre
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Music CD Cover
Artist: Wayne KrantzEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-08-18
Music Label: Abstract Logix
Soundtracks:
- It's No Fun Not to Like Pop
- War-Torn Johnny
- Rushdie
- Wine is the Thread
- The Earth from Above
- Left it On the Playground
- Jeff Beck
- I was Like
- Mosley
- Holy Joe
- Rugged Individual
Free Music Notes for Krantz Carlock Lefebvre
Free Music Review: A Hip Teamwork
Hit: 5 Stars
I appreciate this new work by Wayne Krantz a guitarist that I admire in particular for one album that I own, "Signals". Wayne is truly a gifted musician, he has a voice of his own and he is able to write curious, intriguing and beautiful music. It's a music that defies categorization (so why try to define it?) and this of course could be good or bad (if we don't want to use the abused word "Fusion" that doesn't mean a thing more). It depends. This album is a team job and with this I mean that noone of the three musicians really stands out. The protagonist is the music magma they alltogether are able to produce. I like this music, really I can't find so many words to describe it, because it is a sort of intense sonic extravaganza that you could love or feel nothing for it. The musicianship of course is very high here, this is not questionable. Frankly speaking I have to say that in the end I still love "Signals" more than this one. That was a Wayne Krantz album where his really advanced phrasing and his great sense for rhythmn and melody were evident in all their beauty. This is something different, Wayne is not upfront like he was in Signals and this is more of a "jam album" that a composed one like "Signals" was. Of course there are themes and lines but overall it is the sense of spontaneous improvisation that prevails. I still adore Wayne's advanced phrasing in tunes such as "Alliance", "One or two", "Signals", "Don't tell me" and the lovely ballad "As is" from "Signals" more ... I find those tunes even more fantastic today under the light of this new album by Wayne, which is, a very good "team album" that I find myself listening more and more, .... maybe it is more contemporary, more rockish, but maybe less musically significant and ... brilliant ... (?). Yes, maybe it is just this. It is more in line with our days, it is hip ... but with less musical value (and with this I mean the value of a melody, of a composition, of a musical statement). It's only my feeling ... you have to hear for yourself the album, maybe you could disagree completly. Nevertheless I feel the need to give this album 5 stars (I thought about 4 but in the end I feel it deserves 5), because it's very high music, this is another NON questionable thing. Tastes are tastes, and opinions are opinions, but these guys are extremely serious "new" sceriffs in town, you have to listen to them very carefully. The album is very good indeed, it will not be lost time even if you will find yourself not compeltly in tune with this stuff.
Krantz Carlock Lefebvre Poster
The boldly inventive improvisations of maverick guitarist Wayne Krantz have long held a fascination for fans of dynamic, uncompromised music. Ex-Sideman with Steely Dan, Donald Fagen, Michael Brecker, Billy Cobham and many others, Krantz has focused on live performance for nearly two decades, holding down a residency at New York City's 55 Bar. Now, with Krantz Carlock Lefebvre, his first album for the hip, artist friendly music label Abstract Logix, he is returning to a recording studio to document his own music for the first time in over fifteen years.Krantz Carlock Lefebvre features Krantz as one-third of a longstanding trio that also includes virtuoso drummer Keith Carlock (Sting, Steely Dan, James Taylor) and bassist extraordinaire Tim Lefebvre (Chris Botti, Uri Caine), which was first convened in 1997.
'Giving this band a voice in the context of a studio is a big deal for us,' Krantz says. 'Everything we've ever released together has been some kind of live album. Now we have the clarity and concision of the studio along for the ride.' Cut live in the studio and then augmented by overdubs, the result is Krantz's most personal statement yet, more strongly rooted in composition while still rich with the improvisational nuances that make his live performances so riveting.
In 1996 he toured around the world with the revived Steely Dan, which he regards as an improvisational challenge that further sharpened his time-feel and sense of groove. 'I loved it,' he said of the experience, 'but at the end of the day it's a sideman gig, and as great as it was, it still can't compare to what I have with my own band.'
That thrill - the sound of three musicians both in synch and unafraid to challenge one another - is captured with gripping immediacy on Krantz Carlock Lefebvre, an album that handily defies categorization.
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