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Friends Seen and Unseen

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After a quartet album with guest vocalists to end his run at Blue Note, then a quintet album for his Ropeadope debut, Charlie Hunter has scaled back down to a trio, retaining drummer Derrek Phillips and saxman John Ellis from the last album. This is arguably the best way to hear Charlie Hunter: he's got a melodic foil to play off of, and someone supplying a beat, but not so many things going on that you can't concentrate on what he's doing. And it's well worth concentrating on because this man is simply amazing. He plays lead lines and chords while serving up funky basslines simultaneously on his eight-string guitar. Most folks would swear it's either two people or overdubbing, but it isn't. But it's not just about technique: Charlie Hunter makes great music, and seems to have found a collaborator in John Ellis. In addition to his excellent sax playing, Ellis contributed three compositions and collaborated with Hunter on two more (a first on a Charlie Hunter album). He also takes a lovely flute solo on "Darkly," plays some nice bass clarinet on "My Son the Hurricane," and supplies a full horn section of sax, flute, and bass clarinet on Abdullah Ibrahim's "Soweto" (here retitled "Soweto's Where It's At"). That track also features some beautiful and amazing soloing by Hunter. Then they turn right around and get kind of nasty on "Running in Fear from Imaginary Assailants," with Hunter's distorto-wah tone and Ellis' multiphonics. Derrek Phillips' drumming is tasteful and supportive, even on his excellent, slow melodic solo on "Darkly." The songs are totally accessible, but there's enough action in the solos and interplay to keep the real music freaks interested. Charlie Hunter has made a bunch of really good records, and this is one of his best.


Charlie Hunter at his best

The one caveat to the title of this review is that Charlie seems to always be at his best on each new album. This album is a refreshing return to the trio sound that really lets his playing shine. His chops are always improving and the licks he lays down here will just blow you away. His bass lines are funkier and his lead lines are stand on their own even more. A few tracks on this album also highlight the breadth of Charlie's styles with a heavy blues feel. Soweto's Where its At, Eleven Bars for Ghandi, and Moore's Alphabet are really tight blues tracks with incredible solos on groovy bass lines. This album is a must for all Charlie fans and is a good intro for someone not familiar with him since it's pretty easy to focus on listening to his simultaneous bass and guitar playing.


誕生: 1968 Rhode Island

ジャンル: ジャズ

活動期間: '90s, '00s, '10s

As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further and set out to find an instrument on which he could simultaneously...