GINGER BAKER - Why?
Motema Music 233846
Ginger Baker (drums) Pee Wee Ellis ( saxophone) Alec Dankworth (bass) Abass Dodoo (percussion) Kudazai and Lisa Baker (vocals)
Recorded at Real World Studios, Wiltshire, UK, February 17th & 18th 2014
Knowing only of Ginger Baker from his early work as part of the blues rock trio `Cream` but being aware of the high regard his subsequent work has enjoyed I approached this, his latest recording and debut with Motema, somewhat in awe and with high expectations. It features a group he calls `Jazz Confusion` in a programme of original tunes, some of which are apparently drawn from his back catalogue, along with a couple of jazz classics, namely Wayne Shorter’s `Footprints` and Sonny Rollins’ `St Thomas`. All the pieces are rhythmically underpinned by African style drumming (apparently a keen interest of Baker’s) which is augmented by the prescence of an additional percussionist. In spite of this and the involvement of the session hardened Pee Wee Ellis, one time saxophonist with James Brown, I found it to be a curiously moribund, rather dull, set which only manages to achieve lift-off on a couple of occasions.
Whether it is because Baker’s tom-toms seemed to be tuned low offering little dynamic variation and sounding a bit like someone banging heavy handedly on empty suitcases or it’s down to the rather monotonous tone of Ellis’s sax I can’t be sure: probably a combination of both. Alec Dankworth on electric bass does his best to raise the temperature and buoyancy with a fluid counterpoint that weaves its way through the choppy polyrhythmic fabric, his playing proving to be one of the recording’s saving graces.
Of the individual pieces the Rollins tune manages to take flight ( how could it not) and along with a tune called `Aiko Biaye` , which owes something to the old instrumental hit `Tequila`, constitutes the album’s high point.. The disc closes with a tune which in turn echoes the soul/gospel favourite `Wade in the Water` and features voices chanting the titular interrogative, a device that may have something to do with the group’s choice of name which, incidentally, isn’t displayed on the sleeve. Confusing? Given Baker’s monster reputation and the credentials of his sidemen I had expected to enjoy this much more and am disappointed to be so half hearted; perhaps it is simply a matter of taste and my preference for lighter, crisper drum work.
Reviewed by Euan Dixon
Motema Music 233846
Ginger Baker (drums) Pee Wee Ellis ( saxophone) Alec Dankworth (bass) Abass Dodoo (percussion) Kudazai and Lisa Baker (vocals)
Recorded at Real World Studios, Wiltshire, UK, February 17th & 18th 2014
Knowing only of Ginger Baker from his early work as part of the blues rock trio `Cream` but being aware of the high regard his subsequent work has enjoyed I approached this, his latest recording and debut with Motema, somewhat in awe and with high expectations. It features a group he calls `Jazz Confusion` in a programme of original tunes, some of which are apparently drawn from his back catalogue, along with a couple of jazz classics, namely Wayne Shorter’s `Footprints` and Sonny Rollins’ `St Thomas`. All the pieces are rhythmically underpinned by African style drumming (apparently a keen interest of Baker’s) which is augmented by the prescence of an additional percussionist. In spite of this and the involvement of the session hardened Pee Wee Ellis, one time saxophonist with James Brown, I found it to be a curiously moribund, rather dull, set which only manages to achieve lift-off on a couple of occasions.
Whether it is because Baker’s tom-toms seemed to be tuned low offering little dynamic variation and sounding a bit like someone banging heavy handedly on empty suitcases or it’s down to the rather monotonous tone of Ellis’s sax I can’t be sure: probably a combination of both. Alec Dankworth on electric bass does his best to raise the temperature and buoyancy with a fluid counterpoint that weaves its way through the choppy polyrhythmic fabric, his playing proving to be one of the recording’s saving graces.
Of the individual pieces the Rollins tune manages to take flight ( how could it not) and along with a tune called `Aiko Biaye` , which owes something to the old instrumental hit `Tequila`, constitutes the album’s high point.. The disc closes with a tune which in turn echoes the soul/gospel favourite `Wade in the Water` and features voices chanting the titular interrogative, a device that may have something to do with the group’s choice of name which, incidentally, isn’t displayed on the sleeve. Confusing? Given Baker’s monster reputation and the credentials of his sidemen I had expected to enjoy this much more and am disappointed to be so half hearted; perhaps it is simply a matter of taste and my preference for lighter, crisper drum work.
Reviewed by Euan Dixon