Alex Skolnick is a guitar player I remember marveling about back in the late 1980s and early 1990s. Back in those days he was a bright shining star in the world of thrash metal, leading Testament to early success in the wake of Metallica, Megadeth, Anthrax, and Slayer. He burst onto the scene in 1987 with The Legacy, but it was the pair of albums Practice What You Preach and Souls of Black, in 1989 and 1990 respectively, that caught my attention. The guy was amazing, he was fast, technical, and precise. In 1993 he parted ways with the band, going on to play with Savatage, Trans-Siberian Orchestra among others. During that time, he also got into jazz and formed the Alex Skolnick Trio, releasing their first album in 2002. Here we are, five years removed from that album, and I am getting my first taste of Skolnick's jazz, Last Day in Paradise.If you have read my music reviews in the past, you will know that I am a metal guy, through and through. I will make the occasional foray into other genres, but more often than not I am out of my element in writing about them, a fact that will not dissuade me from making the occasional attempt to expand my horizons. That said, I know veyr little about jazz and what makes some good and other bad, but I can say that I know what I like. What I like is this album.
What I find intriguing is the deftness with which Alex has shifted genres. I know that many players can play different styles, but never have I heard a guitarist leave one genre for another and create such great music in both. If I had been handed this cold, not knowin who Skolnick was, I would have liked it, probably as much as I do know, but knowing that this is a band led by a guitar player from a premiere thrash band from my youth? Well that is a different story. This is a completely different Alex Skolnick than the one I listened to so long ago, or even the Alex Skolnick I saw during 2005's Testament reunion tour.Last Day in Paradise puts another facet to Skolnick's ability, and I want to hear more! The album features seven original compositions with three jazz translations of rock tracks mixed in. The translated songs are Rush's "Tom Sawyer," which is nearly unrecognizable during stretches before slipping into those familiar notes that we all know, next is a song the Alex co-wrote with his Testament bandmates, "Practica Lo Que Predicas (Practice What You Preach)," which is given the jazz by way of Latin treatment, finally there is the Ozzy/Randy Rhoads track "Revelation (Mother Earth)."
To steal a phrase, this album is "all killer and no filler." It is an album that you can lay back and groove to, or listen close and listen to each of the band members considerable contribution. Skolnick's playing is smooth, clean, and unlike anything I had heard of his before. He plays with an assured confidence that is not exactly flashy, but none the less fanastic to listen to. Bassist Nathan Peck lays down some great bass grooves, particularly on "The Lizard." Finally there is drummer Matt Zebroski, a solid drummer who compliments each song and delivers snappy hits that are considerably different than the metal drummers I am used to hearing.
Bottomline. This is an impressive album, the complete package of musicianship and songwriting. Skolnick continues to impress after all these years. If you want something to groove to and get some impressive fretwork at the same time, this is an album to check out. I, for one, was impressed.
Highly Recommended.
2 comments:
Why only 3.5 stars, in that case? I agree with your written assessment. It's a brilliant album, and reminds me somewhat of Al DiMeola's "Orange & Blue", but with more oomph. But 3.5 out of 5 seems a bit low, given that you like it that much.
Thanks for stopping by. In some ways I agr with the star assessment. There was a time when I was sometimes a bit conservative in the stars, something I have been trying to adjust.
I will have to check out that Al DiMeola album, thanks!
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