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Prince - 3-Piece Band??!!


Kanada Kev

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Tal is really good. I was hooked when i first heard her perform "'Cause We've Ended as Lovers" with Jeff Beck at the Crossroads Festival from a few years ago (the DVD, wasn't there :( )

I would post a Youtube vid of it, but they seem to have taken it down. Or at least the link doesn't work.

http://www.youtube.com/watch?v=USJ9BA05GU0

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Honest question here: Is Tal really that good or are we just fawning over her as a young female bassist?

I saw her perform a few times and while she was certainly great- I had to wonder if the accolades were derived solely from her musical ability.

If you were watching a 50 year old fat dude play like that I doubt he'd be playing with herbie hancock, prince, or even jeff beck.

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If you were watching a 50 year old fat dude play like that I doubt he'd be playing with herbie hancock' date=' prince, or even jeff beck.

[/quote']

i don't quite get what you're saying here.

I'm saying that part of what Sean is questioning is true. If you put 2 equal players together, one being a young lady who's only been playing for a few years with tons of talent and deep deep funk, beside a guy who's been playing for 33 years and managed to acquire the same skill, then you had to choose which one would be more interesting to play with.... the 50 year old fat dude that I made up would be on the B team.

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I think booche is right with regards to Prince - no way he auditions someone without seeing an 8x10 glossy first. As for JB and HH, it wouldn't matter what they looked like, any bass player that plays like Tal would be welcome. Even if they looked like Don Knotts.

The ability of the lady is just not up for debate, really. She's astounding and may just become one of the biggies.

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Krantz and Carlock with Tal on this release! Killer shit:

http://bit.ly/aeZ01w

folder21.jpg

Some artists emerge slowly, taking years to find their way to public attention; others leap seemingly instantaneously into the public eye. Australian-born, US-based bassist Tal Wilkenfeld has gone from sitting in with The Allman Brothers Band in 2006 to working with pianist Chick Corea and Jeff Beck, heard recently on the guitarist’s Performing This Week…Live at Ronnie Scott’s (Eagle Records, 2008). What’s not apparent on Beck’s CD—but can be seen on the DVD version of the same release—is his almost constant state of disbelief when watching the diminutive, early-twenties Wilkenfeld. There are plenty of bassists with staggering technique and chops, but few can make the instrument truly sing, as Wilkenfeld does on Beck’s CD during an all-stops-out solo on Stevie Wonder’s “‘Cause We’ve Ended as Lovers.â€

Wilkenfeld possesses all the requisite chops and uses them to terrific advantage on Transformation, her 2007 debut as a leader, released prior to hitting the road with Beck. As with Beck, she proves herself a potent groove-meister, in this case working hand-in-glove with Keith Carlock, best-known as Steely Dan’s recent drummer of choice, both on the road and on its last release, Everything Must Go (Reprise, 2003). The grooves are rich and visceral on this set of Wilkenfeld originals (one, the beautifully balladic “Truth Be Told,†co-written with Transformation’s keyboardist, the ever-tasteful Geoffrey Keezer), with solo space aplenty and a less restrictive format allowing Carlock greater freedom than in The Dan’s more defined context.

Possessing a deep lyricism rare enough in electric bassists, but especially in this largely fusion-esque context, Wilkenfeld’s a fingers-only player who largely eschews string-popping and slapping techniques, though she heads for that territory briefly on “Serendipity,†managing to be be both rhythm anchor and lead voice. Largely, however, she aims for a warm tone and a way of sliding in and around her notes reminiscent of ex-Weather Report bassist Alphonso Johnson and King Crimson/Peter Gabriel alum Tony Levin.

Wilkenfeld’s writing is filled with knotty, often high velocity lines either in counterpoint or concert with guitarist Wayne Krantz, who delivers some of his most focused, funkified and harmonically outré playing in years; a strong foil for Wilkenfeld and a player who’s always deserved more cred than he’s been afforded. Saxophonist Seamus Blake, normally heard on more modern mainstream settings, combines spare soulfulness with bop-inflected lines on the medium tempo “Table for One,†while Keezer delivers one of his best solos of the set on the fierier “Oatmeal Bandage,†while also features a rare solo spot for Carlock that suggests he, like Krantz, deserves considerably more attention.

But even when the music is filled with complex, intertwining lines that prove the mettle of everyone involved even as they avoid any trappings of excess, it still grooves in a booty-shaking way—even when Wilkenfeld challenges with shifting meters. For those who’ve discovered Wilkenfeld via her work with Jeff Beck, the thoroughly exciting Transformation provides an even broader window into this remarkable bassist with a promising future. – http://www.allaboutjazz.com

Tal Wilkenfeld: bass

Wayne Krantz: guitar

Geoffrey Keezer: piano, keyboards

Keith Carlock: drums

Seamus Blake: tenor saxophone

mp3@320CBR

Tracklist:

1. BC

2. Cosmic Joke

3. Truth Be Told

4. Serendipity

5. The River of Life

6. Oatmeal Bandage

7. Table for One

http://bit.ly/aeZ01w

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