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Music for Bowlers
Stephen J. Price
Music for Bowlers is a good album. I have to point this out because at first glance on a store shelf I wouldn't give it a second thought. It has the small typeface "70's Disco" font thrown in the corner like someone misgauged their margins; the album art is a very primitive abstract piece that doesn't tell you much about the music; and it is titled "Music for Bowlers" which is baffling in its' own right. What is a bowler? To me it's a person in a smokey room, drinking a beer and rolling a ball down a lane attempting to knock down 10 wooden pins. This isn't a group I immediately lump into the "piano jazz" demographic. Not that it matters, but I couldn't stop thinking about it while listening through the album, which went something like this:
Knit to Own: is an odd song as it has a long beginning and a seemingly improvised middle. Then it ends sharply. Probably was recorded during a jam session, and cut from a larger whole.
Nello: Punchy and upbeat. It's reminiscent of 50's piano jazz with a good, clean sound and some lively drums.
At this point I'm convinced I'm wrong about what a bowler is; and I look it up to determine whom this music is intended for. According to my dictionary a bowler is either the afore mentioned ball thrower, a hat, or a Cricket player who's job is similar to a baseball pitcher. So it's for him! Great, mystery solved. It's an American piano jazz album packaged like a discount 70's disco CD, and composed for cricket players. If this doesn't go double platinum I don't know what will…
Hidarite: Smoother, more "traditional" soft jazz with additional electronic sound effects. The sound might be better received during a live show than recorded however. The effects had me actually check my speakers.
Gig For Gag: Definitely a tug of war between instruments and ideas. I keep envisioning an interpretive dance number going on while listening to it.
Inconvenient Coincidence: Though there are slight variations sprinkled about the song, it has repetitive cadence that doesn't seem to go anywhere.
The author of the press booklet I received with the album is so full of self-important hyperbole I actually wish I could punch the words and make them hurt. One of their descriptions is:
"Younger rock fans are mesmerized by the band's ability to make torturous rhythmic grooves sound fluid and raw."
Which sounds nice, but it's the kind of nonsense that only ends up being distracting. Anyone who listens to the news will tell you anything both torturous and fluid is banned by the Geneva Convention. On the other hand, I find myself still liking the music. So if it convinces an out-of-touch recording agent to sign them, then so be it.
New Goods: Somber and short. The first minute sounds like something you would hear from a lounge piano act at the end of his shift, and he's beat tired. Then the song picks up about halfway through as if the lounge singer gave him a kiss.
Qing: An interesting song which feels more like its is actually 3 songs and they weren't sure where to cut it. It starts off bouncy with a playful back and forth melody. I would pay good money to see this played on the over-sized "FAO Schwartz" keyboard from Big. The Second part seems like it was originally recorded at a jam session and never quite came together. The rest is a very quiet introspective piece that seems like it would be would be quite at home in a western western.
Ice Fishing: Very clean, and smooth. The most "traditional" jazz track on the album.
Despite marketing's best efforts to keep me from liking this album, I gave it a listen and I'm glad I did. While not as eclectic or experimental as I was lead to believe, it blends styles well and challenges the average listener. Final Verdict? I like it and it's definitely worth a listen.
Knit to Own: is an odd song as it has a long beginning and a seemingly improvised middle. Then it ends sharply. Probably was recorded during a jam session, and cut from a larger whole.
Nello: Punchy and upbeat. It's reminiscent of 50's piano jazz with a good, clean sound and some lively drums.
At this point I'm convinced I'm wrong about what a bowler is; and I look it up to determine whom this music is intended for. According to my dictionary a bowler is either the afore mentioned ball thrower, a hat, or a Cricket player who's job is similar to a baseball pitcher. So it's for him! Great, mystery solved. It's an American piano jazz album packaged like a discount 70's disco CD, and composed for cricket players. If this doesn't go double platinum I don't know what will…
Hidarite: Smoother, more "traditional" soft jazz with additional electronic sound effects. The sound might be better received during a live show than recorded however. The effects had me actually check my speakers.
Gig For Gag: Definitely a tug of war between instruments and ideas. I keep envisioning an interpretive dance number going on while listening to it.
Inconvenient Coincidence: Though there are slight variations sprinkled about the song, it has repetitive cadence that doesn't seem to go anywhere.
The author of the press booklet I received with the album is so full of self-important hyperbole I actually wish I could punch the words and make them hurt. One of their descriptions is:
"Younger rock fans are mesmerized by the band's ability to make torturous rhythmic grooves sound fluid and raw."
Which sounds nice, but it's the kind of nonsense that only ends up being distracting. Anyone who listens to the news will tell you anything both torturous and fluid is banned by the Geneva Convention. On the other hand, I find myself still liking the music. So if it convinces an out-of-touch recording agent to sign them, then so be it.
New Goods: Somber and short. The first minute sounds like something you would hear from a lounge piano act at the end of his shift, and he's beat tired. Then the song picks up about halfway through as if the lounge singer gave him a kiss.
Qing: An interesting song which feels more like its is actually 3 songs and they weren't sure where to cut it. It starts off bouncy with a playful back and forth melody. I would pay good money to see this played on the over-sized "FAO Schwartz" keyboard from Big. The Second part seems like it was originally recorded at a jam session and never quite came together. The rest is a very quiet introspective piece that seems like it would be would be quite at home in a western western.
Ice Fishing: Very clean, and smooth. The most "traditional" jazz track on the album.
Despite marketing's best efforts to keep me from liking this album, I gave it a listen and I'm glad I did. While not as eclectic or experimental as I was lead to believe, it blends styles well and challenges the average listener. Final Verdict? I like it and it's definitely worth a listen.