Exploration
GRACHAN MONCUR III OCTET
Capri
Like Andrew Hill and Sonny Clark, trombonist Grachan Moncur III was among a handful of lesser names that found a home at Blue Note in the '60s, bridging post-bop and avant-garde. In the '70s, he retreated to the world of music academia. Exploration is his first album as a leader since 1977 – and what a return. The 67-year-old Moncur entrusted several of his back compositions to arranger Mark Masters, who gave them a sonorous, urbane treatment, fully utilizing the sonic scope of trumpeter Tim Hagans, French horn player John Clark, trombonists Moncur and Dave Woodley, alto saxophonist Gary Bartz, tenor man Billy Harper, baritonist Gary Smulyan, bassist Ray Drummond and drummer Andrew Cyrille. (if you're counting that's actually a nonet). The horn charts blend lush-and-creamy with just the right dollop of astringency. The players sync in beautifully, embracing these bold, angular compositions. Exploration glides through an array of moods: jaunty, somber, whimsical, manic and more. Although the solos are uniformly strong, special mention goes to Harper and Bartz, whose jagged lines and measured dissonances ratchet up the intensity every time they step to the fore. On occasion, Exploration comes off as a bit too mannered, but by and large it hits the trifecta: splendid writing, intuitive group interplay and ear-turning improvisation. (
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– ERIC SNIDERThe Will to Death
JOHN FRUSCIANTE
Record Collection Music
Although The Will to Death isn't John Frusciante's first segue into solodom, there is always a bit of apprehension on the part of the public in believing that a solo CD will live up to the famous sound of the artist's principle band. Considering Frusciante's primary group is the Red Hot Chili Peppers, one of the most deservedly hyped bands in modern rock, the pressure on the guitarist to fill his own shoes is a little greater. While not as imminently memorable as his work with the Peppers, The Will to Death does have its selling points. This record (the first in a series of six promised to be released in as many months) shows Frusciante's proficiency in non-traditional song structures as well as crowd-pleasing pop numbers. His hollow-bodied guitar tone and crooning voice are forceful when necessary, but are generally content to cruise. Throughout, Frusciante combines often-hyperactive guitar leads with subtle effects while keeping the music focused and linear. While cohesive enough, the album lacks climax and tapers off after the first seven or eight tracks, continuing at a somewhat boring pace through the final half. The result is what can be typically expected of a man-in-famous-band gone solo: True fans will eat it up; the rest of us will long for another "By the Way."
– CASEY CLAGUE
This article appears in Jan 19-25, 2005.