ALEX SKOLNICK TRIO: Transformation

Alex Skolnick Trio

Transformation

© 2004 Magnatude Records (026245230521)

CD IN STOCK. ORDER NOW. Will ship immediately.

Jazz-Metal. The long awaited follow up to the critically acclaimed 'Goodbye To Romance:Standards For A New Generation.'

notes

All About Jazz Review 11/16/2004
http://www.allaboutjazz.com/php/article.php?id=15309


Transformation

Alex Skolnick Trio | Magnatude Records

Call me a jazz bigot. When I received Transformation by Alex Skolnick, apparently the ex-guitarist for thrash metal-heads Testament, my first thought was, "Great, another rocker trying to be a jazzer." Things didn't get better when I saw that Skolnick was interpreting material by Judas Priest, Pink Floyd, Deep Purple, Scorpions, Iron Maiden and-yes-Ronnie James Dio. Sure, plenty of serious jazz artists have approached contemporary singer/songwriters in recent years-Brad Mehldau, Charlie Hunter, even Herbie Hancock. But metal bands? I mean, really.
Well, imagine my surprise to discover Skolnick a fine jazz guitarist, completely capable of getting to the core of songs by a group of artists more associated with classic rock, and transforming them into almost unrecognizable new tunes. Unlike the Bad Plus, who are nothing less than shtick-a group whose supposed reinvention of songs by Nirvana and Black Sabbath do little to honour the originals, and even less to make them interesting and refreshing new mediums for improvisation-Skolnick and his trio of bassist Nathan Peck and drummer Matt Zebroski breathe new life into these tunes, transforming (there goes that word again) them into something fresh, while at the same time being reverential to their sources. Judas Priest could never have conceived "Electric Eye" as a lithe 7/4 romp, nor Scorpions their "Blackout" as a swinging jazz waltz, but there you go.

That Skolnick comes to jazz from rock as opposed to the other way around means that while he has a firm grasp on harmony and is capable of navigating odd meters and shifts in feel, there is a certain energy and, in particular, attitude that is missing from your typical fusion player. That's not to say guitarists like Scott Henderson and Frank Gambale lack attitude; it's just that there's something different about the way that Skolnick digs into a solo, even when it's on an abstract ballad like "Fear of Flying." And Skolnick does this, for the most part, with a clean and warm tone that is only affected with a touch of delay, completely eschewing the typical overdriven fusion tone with the exception of a brief spot on the title track and his surprisingly swinging version of Deep Purple's "Highway Star."

If Skolnick has any precedent in jazz, it would have to be Larry Coryell, who has blended a true rock and roll attitude with a far broader reach over the course of his career, demonstrated to great effect at this summer's Ottawa International Jazz Festival. Like Coryell, Skolnick demonstrates that translating the energy of rock to a jazz context can be a more subtle thing, showing that you can imbue more traditional trappings of swing, modal playing and richer harmony with an edge that doesn't spoil their essential purity. Transformation is a surprising record that succeeds on many levels and proves that it is indeed possible to shift gears mid-career and sound like you've been doing it all your life.

~ John Kelman

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  • Astounding jazz-metal fusion
    author: Manish (Pittsburgh, PA)

    A sequel to Goodbye to Romance, Skol trio delivers another great piece of art. Supreme originality, lots of variety and killer execution on all tunes, speaks volumes of depth and creativity of all 3 dudes on the band (Alex, Matt and Nathan). Personal favorites include: the Brazilian arrangement on Dio's Don't Talk to Strangers, the odd-metered Electric Eye (Judas Priest), and the blending of Iron Maiden's Trooper riff into an original tune. Transformation (with some good cello playing) and Fear of Flying are outstanding originals. These are just my faves, the entire CD kicks ass. Buy it.

  • What a little gem of a record...
    author: P Mosh

    What a little gem of a record. The musicianship is great. The choice of cover songs is unusual, but works extremely well. Being an old school metalhead myself, I couldn't wait to hear some of the covers. I was surprised at how well they've been translated in to a different musical language, i.e. Jazz. I also found the original songs to be as strong and as interesting as the covers. There is some cracking guitar playing on the album and it is an album that really, really grows on you. Once you pop you can't stop...as the saying goes. This record would appeal to "anybody" who loves great instrumental Jazz, performed with skill and flair.

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