Hi
a review for the guitarist GREG CHAKO

http://www.vinilemania.net/vGREGCHAKO.htm

Ciao ciao Pietro


courtesy: http://www.jazzreview.com

Featured Artist: Greg Chako


CD Title: Integration II

Year: 2001

Record Label: Chako Productions

Style: World Music

Musicians: Greg Chako (guitars), Greg Lyons (saxophones), Christy
Smith (bass), Edmond Branson (drums), Mei Sheum (piano), Mohamed
Noor (percussion, tabla), Reggie Perera (didgeridoo), other assorted
musicians

Review: With the dearth of options currently available in the
majority of American music stores, it is certainly an admirable goal
to attempt to add to that landscape shades of other musical
cultures, to broaden the vision of a hermetically sealed American
musical consciousness. After all, so-called "world music," despite
its outcast status on the hidden corner shelves of most US CD
stores, is what most of the world has listened to for most of
history. And while many Americans may be aware of a Bob Marley, a
Tito Puente, or maybe even a Fela Kuti, the world of Asian music is
virtually unknown to these shores. Certainly, within the jazz
sphere, someone like Toshiko Akiyoshi has done a coy job of layering
a couple of Japanese flavors into an otherwise uniformly jazz base;
overall, however, very little genuine fusion of this sort has taken
place. All of which would seem to indicate that American-born,
Singapore-based guitarist Greg Chako is in prime position to open
American ears to all the Asian musical tradition to which he has
first-hand access.

Unfortunately, what Chako comes up with on Integration II, his fifth
release, is a smoothed-over substitute for any true cultural
communication. As noted, the elements are there – Chako has
assembled a standard jazz quintet of saxophone, guitar, piano, bass,
and drums, but added a vast array of exotic accompaniment, including
a tabla, surdo drum, and even a didgeridoo for good measure. But it
is clear from the opening melody statement on "Tokong Burung-Nazri's
Place" that these diverse elements are more of a surface effect than
a true exploration of their potential. After laying an intriguing
percussive base replete with rumbling didgeridoo, Chako, saxist
Lyons, and bassist Christy Smith state the quasi-funk, breakneck
theme, which takes its mechanical, technical maneuvers less from
Dizzy and Bird, and more from prog-rock honchos Yes and Rush. Which
would be fine, but when contrasted with the vibe so recently opened,
sounds like two worlds struggling to be heard over each other,
rather than in close and respectful conversation.


This tendency is most clearly exemplified in the medium tempo, smooth
(ish) swinger "Fine Aussie Weathered." There is a clear and
superficial break between the twenty seconds of percussion-backed
didgeridoo delight that opens and closes with exotic enticement and
the run of the mill hard-bop sandwiched in the middle. Without a
doubt, Chako is an able soloist, dancing across the changes with
changing tempos and fleet-fingered malleability, but his constant
contentment to land on the pre-designated landing spots leaves
little sense of truly inspired playing. Pianist Mei Sheum and tenor
Greg Lyons counter with equally straightforward offerings. The
writing and arranging shows a comfort with the voice Chako is
developing, but its finger-snapping smoothness suffers from a lack
of distinctive direction. Perhaps this explains the attempt to weld
the other cultural qualities to its front and back ends, but as
stated, the lack of true organic fusion is very quickly noticeable.


That is not to say that there are no pleasing moments over this hour-
plus of frolicking, if too-tepid songs. On the contrary, an
otherwise too-slick run through of "Afro-Asian Chant" exhibits
extreme vigor in its second-half, building to a stirring tenor-tabla
dialog that leaves harmony behind in favor of quick-witted trading
of rhythmic phrases. Throughout, Christy Smith's fat-toned
ostinatoes create thoughtful bases on which to build, and Greg Lyons
contributes winding, many-faceted solos. Indeed, Chako himself is
impressive in the spotlight when he allows his jazz instincts to
flow unchecked; it is primarily in his effort to refine them when
the outcome suffers. Those tunes on which Chako seems to be focusing
more on that process of Integration, like "French Island Fantasy"
or "The Sweet One," are in fact the most forced moments of the
entire disc; his self-styled smooth-funk mixes altogether
unnaturally with the under-nuanced percussion and rhythm instruments
through which it's forced. In short, despite the claims of his title
to the contrary, it is unclear to whom this disjointed disc might
genuinely appeal: way too slick to hold the interest of those with
an active interest in the exotic, it is also much too exploratory to
settle comfortably with the fuzak faithful that might otherwise
enjoy it.

Tracks: Tokong Burung-Nazri's Place, The Sweet One, Smooth Ride,
French Island Fantasy, Afro-Asian Chant, Ipoh Girl, Fine Aussie
Weathered, Ocean Blues, Tokong Burung-Nazri's Place (alternate), The
Hunny Lady.