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Adam Holzman & Brave New World

" The Big Picture "

Label: Escapade

Release: 1997

CD und Cover neu in Folie!

CD and Cover new and still sealed!

Jewelcase

Tracklist

1. Toxic Waste Introduction
2. Iron Curtain
3. Mad Cow Disease
4. Longest Day
5. Chaos Theory
6. Second World
7. Hot Zone
8. Sky Is Falling
9. My Game Is Strong
10. Comrad Russell
11. Fred-Ex
12. Failed Industrial Belt

Credits

Acoustic Guitar, Steel Guitar – Jane Getter
Bass, Programmed By [Bass] – Freddie Cash Jr.
Clarinet [Bass], Alto Saxophone, Soprano Saxophone, Shaker, Flute [Alto] – Aaron Heick
Drums, Shaker, Percussion [Drum Loop, Trash Cans] – Ju Ju House
Guitar – Allen Burroughs
Guitar, Vocals, Voice – Mitch Stein
Guitar, Voice – Mike Campbell
Organ [& Wurlitzer], Drum Programming, Producer, Clavinet, Programmed By, Electric Piano, Keyboards, Arranged By, Piano, Synthesizer – Adam Holzman
Vocals – Michael "Dino" Campbell*

Der Funk, erfahren wir in den einleitenden Worten, überwinde den Giftmüll. Adam Holzmans Jazz-Funk ist und bleibt dreckig. Und die hibbeligen Rhythmen wirken so ansteckend, daß man sogar am Schreibtisch mit Fußwippen reagiert. Der Ex-Sideman von Miles Davis spielt harte Rhythmen und weiche Saxmelodien, kalte wie warme Sounds, dunkle Bässe und helle Synthesizerklänge raffiniert gegeneinander aus. Permanente Hochspannung herrscht vor, als wolle Holzman die Ödnis einer ungeliebten Welt in eine Idylle verwandeln.

Inspired by the bizarre events on a recent tour of Eastern Europe with his Brave New World band (Juju House on drums, Freddy Cash on bass, Mitch Stein on guitar and Aaron Heick on saxophones), The Big Picture casts a darker tone than his previous recordings. And while groove is still an essential element in the mix, Adam´s writing has taken more conceptual twists and turns in an effort to move the music forward. His debut as a leader, 1993´s In A Loud Way (Blue Note/Manhattan) set the precedent for his post-Miles solo career with slaming backbeats and high energy soloing. Overdrive (Lipstick) continued in that jazz-rock vein while on Manifesto the Miles Davis influence became more prominent in his overall concept. That hard-hitting effort focused more intently on mood, groove and the undulating power of D.C. go-go beats. " My theroy is if there´s a serious groove, you´re going to connect with people," says Holzman, "so you can get away with some darker, more intersting things on top." Though Adam believes that a lot of grooves on records today come up "shy", his own rhythm section of Juju House and Freddy Cash provides a slamming foundation for the Brave New World band with big-as-a-house backbeats and heavy bottom. "I think that´s an exciting element to having on a recording," he says. "I´ve always gravitated toward that sound. I want that real reck´em sock´em rhythm contrasting with the moody, dark harmonies and textures while still keeping it song-oriented." The Big Picture is indeed teeming with live energy and carries on where Manifesto left off --slamming us closer toward the millenium with deep grooves.

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