Liverpool Sound and Vision Rating 9/10
Arguably for the vast majority of music lovers, the drummer is an integral part of the sound captured in the studio or live on stage, and yet we have the vision of the one sat behind cymbals and skins as being this omnipotent being shrouded by the dry ice and only appearing like some figure out of the gloom as they are called upon to acknowledge the appreciation of the whole, and rarely for their individual skill and proficiency.
The band leader, the principal identity of the group dynamic is often at the front of the house, they are the one to whom the groove relies, the ambience, the feeling, the vibe…it is in their hands as the audience relishes the effect that the music has on their soul and their energy.
We look deeper to those whose personality matches the spirit of the expression, we see figures such as Phil Collins and his own experiences with Genesis and the jazz fusion of Brand X, the impeccable Buddy Rich who inspired millions with his artistry and creativity, and off course whilst being part of one of the finest Progressive Rock bands, one of most dynamic trios of all time in Rush, the effervescent and much missed Neil Peart, and by doing so we find the generosity and precision of drummer, composer, and arranger Dave Potter, along with Miguel Alvarado, Angelo Versace, Rob Linton, Greg Tardy, and Jason Marsalis, and in the fiercely cool Retro Groove 2, the exclamation of the genre is fitting and beautifully examined.
It is the homage of the previously mentioned Professor Neil Peart that the standout Tom Sawyer from the magnificent Moving Pictures album is to be considered the pivotal centre of the album, and alongside classics given the same treatment, so the emotional fertility of sound is accessed. The brilliance of Jazz interpretation in Saving All My Love For You, the thrill of License To Kill, Why Can’t We Fall In Love, and the unbelievable cool of Toto’s Rosanna, and the surprising finale made famous from the musical Flashdance, the upbeat but almost inherently violently appreciative Maniac, the genuine bravado and rhythm of Dave Potter lofty ideals, the abundance of styles in such an inventive mastery, is absolutely, frankly, incredible.
Jazz may have its detractors, but it is the beat that guides poetry, that fills the heart with glory, and in the dynamic of Retro Groove 2 it is a pleasure of dexterity nimbly approved that gives it meaning.
Ian D. Hall