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Béla Fleck: Live at the Quick

 A l b u m   D e t a i l s


Label: Sony Music Entertainement
Released: 2002.02.26
Time:
 71:54
Category: Progressive Jazz
Producer(s): Béla Fleck
Rating: ********.. (8/10)
Media type: CD
Web address: www.flecktones.com
Appears with: Victor Wooten
Purchase date: 2002.05.15
Price in €: 23,99



 S o n g s ,   T r a c k s


[1] That Old Thing [Intro] / Earth Jam (B.Fleck/Futureman/V.Wooten) - 7:55
[2] Zona Mona (J.Coffin/B.Fleck) - 6:34
[3] Ovombo Summit (Futureman) - 2:48
[4] Hall of Mirrors (B.Fleck) - 5:42
[5] Scratch and Sniff (B.Fleck/V.Wooten) - 6:43
[6] Improv / Amazing Grace (Traditional) - 5:18
[7] Big Country (B.Fleck) - 8:21
[8] Interlude - 1:26
[9] Lover's Leap (B.Fleck) - 6:13
[10] Alash Khem [Alash River Song] (Traditional) - 2:26
[11] A Moment So Close (B.Fleck) - 6:55
[12] Improv / Prelude from Bach Violin Partita No.3 (J.S.Bach) - 5:59
[13] Intro - 1:06
[14] Hoedown (S.Copeland) - 8:59

 A r t i s t s ,   P e r s o n n e l


BÉLA FLECK - Banjo, Guitar, Arranger, Producer, Liner Notes, Mixing, Electric Banjo, Synthesizer Banjo
VICTOR WOOTEN - Bass
FUTURE MAN - Percussion, Drums, Vocals, Cajon, Drumitar Synthaxe
JEFF COFFIN - Clarinet, Flute, Alto & Soprano & Tenor Saxophone

ANDY NARELL - Keyboards, Steel Pan
OLIVER NELSON - Arranger
PAUL HANSON - Bassoon, Tenor Saxophone
PAUL MCCANDLESS - English Horn, Oboe, Soprano & Sopranino Saxophone, Penny Whistle
SANDIP BURMAN - Tabla
EDGAR MEYER - Arranger

RICHARD BATTAGLIA - Mixing
ZACH NEWTON - Monitor Engineer, Stage Manager
GREG KESSLER - Photography
GEORGE BATES - Illustrations

 C o m m e n t s ,   N o t e s


2002 CD Sony 86355
2002 DVD Sony 54058
2002 VHS Sony 54058



Anyone who saw the Flecktones in their early days probably told you that it was an amazing experience, and a big part of that praise undoubtedly focused on the group’s improvised jams. With Victor sometimes playing two basses simultaneously and Bela wandering through the audience picking cosmic banjo lines, their shows were spectacles to be enjoyed for the simple thrill of hearing virtuosos play music that was mind-boggling but somehow utterly accessible. It’s sad, then, that the group’s live albums, while preserving the energy, have never quite captured the humor of those early shows. Many fans could relay stories of Bela and Victor’s astounding call-and-response duels, which could incorporate anything from Tchaikovsky to full-throttle bluegrass breakdowns. The rapport was hilarious, and it endeared people to a group that might otherwise go down as whimsical show-offs. However, while the old shows may be legendary, the new ones aren’t bad either, and the above isn’t meant to say that Quick is a bad album—actually, there’s plenty of stuff that Flecktones fans love, including Victor’s now-trademark arrangement of “Amazing Grace” and a Bach “Prelude” from Bela’s classical music projects. The concert was recorded with the “Flecktone Big Band” and features guest appearances from Paul McCandless, Andy Narell, Paul Hansen, tabla player Sandip Burman, and Tuvan throat singer Congar ol’Ondar. All that makes Quick the band’s most diverse record yet, and fans of Bela’s post-Acoustic Planet work will be amply rewarded.

Jim Smith, All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



Those who attend Bela Fleck concerts do not sneer at virtuosity. The banjo innovator, who gleefully trashes the boundaries between jazz, bluegrass, world music, and other forms besides, is a dazzling player who likes to surround himself with other virtuosi. On Live at the Quick, listeners -- and viewers of the simultaneously released DVD -- are treated to clever concert variations of Fleck favorites, mostly drawn from his preceding album Outbound. Three saxophonists (including Flecktone Jeff Coffin and Oregon founder Paul McCandless) make "That Old Thing" an introduction to the skittering funk of "Earth Jam," which encompasses the sounds of West African soukous guitar and kinetic punk-jazz. Fleck's hypnotic, reverbed strings accent the elegant, multi-textured "Hall of Mirrors," while he lets loose beatific waves of twanging tones on the lyrical, joyous "Zona Mona." Congar ol'Ondar gives the audience a taste of Tuvan throat-singing on the short, but mesmerizing, "Alash Khem (Alash River Song)," which serves to introduce "Moment So Close," featuring synth-percussionist Future Man in its crossover between rap and Indian music. Guest steel pan master Andy Narrell hammers out the romantic theme of "Andy's Solo," leading into the flickering, dreamily Eastern European-styled "Lover's Leap." Fleck -- kiddingly introduced as "the Jed Clampett of the new millennium" -- showcases his skills at improvisation and assimilation with "Improv/Prelude from Bach Violin Partita #3," seamlessly blending the banjo with the baroque. There's more classical crossover with "Hoe Down," a ramped-up, high-energy version of Aaron Copland's famous Rodeo theme, featuring a scintillating banjo-tabla duet. The way Bela Fleck drives a quintessentially American composition with a quintessentially Indian percussion instrument is properly emblematic of his gift for unfettered, imaginative musical excursions.

Drew Wheeler - February 26, 2002
CDNOW Senior Editor, Jazz
Copyright © 1994-2002 CDnow Online, Inc. All rights reserved.



Béla Fleck's music is a three-ring circus of stylistic outreach, rooted in folk musics from around the globe, yet tethered to an American improviser's sensibility. Here, the composer and banjo virtuoso is captured in full flight at a concert venue with his core band of collaborators, the Flecktones, featuring multi-reedman Jeff Coffin and the charismatic Wooten Brothers, bassist Victor and percussionist Roy (better known as Futureman). The emotional and technical range the Flecktones routinely explore is showcased in a series of adventurous solo spots: Futureman's sampled percussion and evocations of African vocal traditions on "Ovombo Summit"; Victor's rapid-fire percussive techniques and masterful use of harmonics in a moving improv based on "Amazing Grace"; and Béla's crystalline adaptation of the prelude from Bach's Violin Partita No. 3. Better yet, Fleck augments his presentation with a Justice League of America-styled cabal of master musicians, who, like himself, push the envelope on instruments all too infrequently represented in jazz. Thus, we experience Andy Narell's lithe, sparkling steel drum harmonies on the Americana-inflected pathways of Béla's "Big Country" and on his gorgeous solo turn, "Interlude"; Paul McCandless's airborne, lyric oboe on the reggae changes of "Lover's Leap"; the funky facility of Paul Hanson on "Scratch and Sniff" (as he transforms his bassoon with wah-wah effects until it suggests a synthesizer); and the uncanny emotional impact of Tuvan throat singer Kongar-ol Ondar, who trumps any synth player you've ever heard through his use of multiphonics in the Mongolian vocal tradition.

Chip Stern, Amazon.com



Grammy-nominated in contemporary jazz, pop instrumental, and country instrumental for 2000's Outbound, Bela Fleck and the Flecktones comprise a unit of virtuosos that resists category. On the simultaneous CD/DVD release Live at the Quick, they offer an interactive, always melodic multicultural banquet, alternating tightly structured passages and no-holds-barred jams, incorporating grooves and scales from funk, bluegrass, and progressive rock; Indian, Near Eastern, and African music; and even bebop and Bach. Joining the core unit of alpha dogs (Fleck, banjo and banjo derivatives; Jeff Coffin, sax and clarinet; Victor Wooten, electric bass; Roy "Futureman" Wooten, drums and synth-percussion) are winds player Paul McCandless, synth-bassoonist Paul Hansen, keyboard/steel pan whiz Andy Narrell, tabla master Sandip Burman, and tuvan throat singer Congar ol'Ondar. Fleck is unmistakably the leader of the pack, imparting organic structure to what could easily be a big mess through the strength of his tonal personality. An old hand at blending virtuosity and entertainment, he uses the diverse conceptual interests of his crew to frame his sound, making complex formulations go down as easy as rhubarb pie.

Ted Panken - Barnes & Noble



Fleck fans will rejoice at the release of Bela's live concert CD - but to the uninitiated, the disc will sound like a long journey into the heart of lite-jazz noodling that eventually melds into one giant extended solo. While Fleck, who grabbed a Grammy last year, is one of the most talented musicians to pluck a banjo, his virtuosity doesn't save this disc from sounding like mush. Among the album's few joys is Tu

By DAN AQUILANTE - February 12, 2002
© Copyright 2002 NEW YORK POST Holdings, Inc. All rights reserved.
 

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