Musicians: Greg Carmichael (guitar), Miles Gilderdale (guitar), other musicians not listed on advance CD copy.
Review: The best smooth jazz is that which plays it close to the instrumental R&B vest by staying happy with a good groove but doesn’t look down to the audience. While there is a ton of smooth jazz today that is happy, and a ton that has a good groove, most treats the audience as simpletons and that which doesn’t usually can’t hold a good groove or be truly and overtly happy. Acoustic Alchemy’s new CD, American English, contains all three essentials in equal proportion and is perhaps the hippest instrumental R&B ride in 2005.
The newly revamped Acoustic Alchemy, following the passing of guitarist Nick Webb, aims, on this date, for a hipper and harder-edged musical treatment than previous recordings and pays great tribute to the Motown sound without playing to the radio-friendly Clear Channel “keep it acoustic and overly simple” maxim. Lead guitarist Greg Carmichael’s new band, with Miles Gilderdale in the second guitar chair, plays it fast, cool and full with a number of great synth washes which reinforce, not detract, from the guitar leads.
The three opening tracks are great examples of why the new sound works so well. On The Crossing a two-flute counter-groove contrasts the up-tempo guitar lead superbly and some great synth patches subtly placed in the background help push the music forward. A middle contrasting electric piano solo plays nicely in relation to the grooves the entire soundscape establishes. The whole tone of this cut continues in the following tune, Say Yeah. Here some hip vocals take the place of the flutes, but the overriding emphasis is on music that moves ahead and doesn’t stagnate. The fadeout guitar/vocal scat solo at the end only makes you want to hear the group live so you can experience more. Next up is So Kylie, and it couldn’t be any better. Wordless vocal leads over synth counter-punctuations, with a tasteful use of synth-washes, all surrounded by a punchy grooves prove there is nothing wrong with instrumental music that makes you want to dance.
If there is a fault with this recording it’s that the tunes don’t last nearly long enough. Each is constructed so well that doubling their length would only add to the enjoyment. While the group was originally formed firmly in the New-Age market, they, more than anyone else, prove movement to the higher artistic demands of smooth jazz can be a very groovy thing. There are no stagnant lines on this album, and it’s about time that could be said about a smooth jazz album.
Tracks: The Crossing, Say Yeah, So Kylie, Trinity, The Detroit Shuffle, Cherry Hill, She Speaks American English, Lilac Lane, The 14 Carrot Cafe, Get Up (Levantar Y Bailar) and The Moon And The Sun
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