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Hypnotic
Hypnotic in Bloomington, MN
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Electric guitarist
Gene Segal
straddles the line between contemporary and current funky jazz components, speaking in a language that is easy to understand. If you enjoy
John Scofield
, you'll take
Segal
's sound to heart, knowing that it is a bit less substantive, but nonetheless has the combined grit and gravy to display an edge with a bluesy, soulful quality. The ridiculously talented
Sam Barsh
appears on organ and Nord keyboard, adding his distinctive rhythmic bounce and heady harmonic taste that spice up any recording he's asked to join in on. Drummer
Matt Kane
solidifies the trio, not so much expanding rhythms as much as adding the punch or pulse the other two players establish and work off of. In essence, this music is fairly simple, though ramped up in a goofy
Frank Zappa
-type humor with boogaloo as
Barsh
and
trade lines on
"Red Eyes."
The repetition during
"Alef"
is definitely influenced by the style of
Fela Kuti
, especially from
's organ and a three-piece horn section. Closest to swinging jazz,
"Blues Again"
is a squirrel-quick bop tune as downtown city life meets chitlin' circuit. A loping blues,
"In the Morning"
is steadied and more thoughtful, while
"Truth"
exemplifies the
Scofield
style and sound, although more chopped up and in a clockwork beat. There are also moments of quiet and peace, as heard on the toned-down
"Four Flights Up,"
as
renders a tasteful organ excursion, while the love song
"Free Fall"
and the ballad of repast
"Quiet"
show the trio's softer side. Then there's the two-minute loud and disorderly improv
"Captain Chaos"
and the title track that again hooks up with the horns in a boring, pedantic ten-minute jam -- both pieces are utter throwaways.
certainly has his moments, but is not yet distinctive enough to pull his own weight.
Hypnotic
is a starting point for what should be better musical results in the future. ~ Michael G. Nastos
Gene Segal
straddles the line between contemporary and current funky jazz components, speaking in a language that is easy to understand. If you enjoy
John Scofield
, you'll take
Segal
's sound to heart, knowing that it is a bit less substantive, but nonetheless has the combined grit and gravy to display an edge with a bluesy, soulful quality. The ridiculously talented
Sam Barsh
appears on organ and Nord keyboard, adding his distinctive rhythmic bounce and heady harmonic taste that spice up any recording he's asked to join in on. Drummer
Matt Kane
solidifies the trio, not so much expanding rhythms as much as adding the punch or pulse the other two players establish and work off of. In essence, this music is fairly simple, though ramped up in a goofy
Frank Zappa
-type humor with boogaloo as
Barsh
and
trade lines on
"Red Eyes."
The repetition during
"Alef"
is definitely influenced by the style of
Fela Kuti
, especially from
's organ and a three-piece horn section. Closest to swinging jazz,
"Blues Again"
is a squirrel-quick bop tune as downtown city life meets chitlin' circuit. A loping blues,
"In the Morning"
is steadied and more thoughtful, while
"Truth"
exemplifies the
Scofield
style and sound, although more chopped up and in a clockwork beat. There are also moments of quiet and peace, as heard on the toned-down
"Four Flights Up,"
as
renders a tasteful organ excursion, while the love song
"Free Fall"
and the ballad of repast
"Quiet"
show the trio's softer side. Then there's the two-minute loud and disorderly improv
"Captain Chaos"
and the title track that again hooks up with the horns in a boring, pedantic ten-minute jam -- both pieces are utter throwaways.
certainly has his moments, but is not yet distinctive enough to pull his own weight.
Hypnotic
is a starting point for what should be better musical results in the future. ~ Michael G. Nastos
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