Ice Cap: Snowy Mountain in SA - the track is slow paced, ethereal with echoes of sleigh bells. I'd answer that "Sonic music is Sonic music because it successfully fits the mood of the relevant zone". It's done this with a rich variety of different sounds, instruments and tempos, particularly post Sonic Adventure. I think, for me, Sonic music has always had the ability to brilliantly echo, accentuate and evoke the atmosphere of the zone or stage its played in.
#Sonic cd soundtrack funk influences series
I feel the Genesis series had extremely catchy and memorable tracks, with the right amount of repetition to make the song catchy but not boring. The common factor may have something to do with the upbeat, fast-tempo tracks that frequent the games. Wamble is also heard on a solo guitar piece called ''Autumn Lamp.'') Through it all, the rhythm section is reliably hot the bass-and-drum team of Eric Revis and Jeff (Tain) Watts is a great accomplice.This is a difficult question, my initial response is that "9 times out of 10, it's pretty damn good" or "it's the most consistently good thing about the franchise" - as to the reasons why Sonic music has proved so successful, that's probably for someone who knows more about music than I do to answer. On ''Romare Bearden Revealed'' (Marsalis Music), he's presenting music to go alongside Romare Bearden's paintings, which are being exhibited in a major retrospective this fall starting at the National Gallery of Art in Washington.īearden came from North Carolina to Harlem in the 1920's, and the album reflects the nexus of country and city: a hard-stomping version of Jelly Roll Morton's ''Jungle Blues,'' with his brother Wynton Marsalis on trumpet, takes its place beside ''B's Paris Blues,'' with the guitarist Doug Wamble. Sanchez on drums and Daniel Sadownick on percussion) is a strong, declarative one.īranford Marsalis is interested in all kinds of things he has already made his funk statement, his saxophone-trio statement, his organized jazz, his loose jazz. Brecker's influential style of phrasing comes in bunched-up huffs of sound, something like the saxophone equivalent of James Brown's singing for the amount of through-composed music that's on ''Wide Angles,'' the mannerism gets a little tiring.īut it's good that you can hear the muscle underneath the instrumentation: ''Brexterity'' opens with a tumultuous solo saxophone solo over Antonio Sanchez's drumming, and the core jazz group on the record (with the guitarist Adam Rogers, the bassist John Patitucci, Mr. the album takes the challenge of balancing art and commerce quite seriously. Right here is where Stravinsky meets Coltrane meets Grover Washington Jr. ''Wide Angles'' (Verve), credited to his Quindectet (that means 15 people are in the group) does a neat trick: it presents amiable, fairly easy-listening jazz-funk dressed up in progressive orchestrations by Gil Goldstein that include French horn, flute, bass clarinet, oboe and a string quartet. The tenor saxophonist Michael Brecker is such a veteran of recording studios that - unlike Nicholas Payton - nobody is surprised to see him come up with any kind of album. But as a first step it's not bad at all: thoughtful, strange, shooting in lots of different directions, and better than a lot of other jazz players' excursions into the land of spacey funk. The album isn't totally convincing, and at times it's so open-ended that you wonder if he isn't rebounding a little bit too hard from his structured past.
There's some tighter, more jazzlike, less far-out quintet playing elsewhere on the disc he also jousts with the past on ''Cannabis Leaf Rag 1,'' throwing dissonant notes into Scott Joplin's ''Maple Leaf Rag'' to sour it. And the second track, ''Fela 1,'' is like a manifesto for his new approach, with his long solo basically one trilling note for two minutes, slowly rising in pitch as it bubbles and gargles, the rhythm section socking out funk behind it. Most of the tunes are improvised, with a bare harmonic center he runs his trumpet through wah-wah pedals and electronic effects to make it blurry and cloudy.
Payton finds comfort in the innovations of his heroes parts of the album are dead ringers for Miles Davis's first electric period of the early 1970's, except without guitars.
It's his first album on a new label (Warner Brothers), and from the tone of his interviews, he doesn't want to make traditional-sounding jazz albums anymore this is the first day of a changed career.Īs before, Mr. But with ''Sonic Trance,'' that's what's going on. In any case he earned a great deal of respect for doing exactly what he did you wouldn't expect him to change direction completely.
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