Reviewed by Unholy Terror

So I get this SMS asking if I would like to do a review of one of Martin’s CDs. So immediately I am like “What the @%#$? Do you not know that I am an ignorant metalhead that knows very close to nothing about the kind of bass that most of you guys (including any ladies, of course) play?” Yet, the mysterious plot in the mind behind the SMS would not budge – so here I am, a child of metal and hard rock reviewing something which I call ‘a blend of Jazz and Rock’, or what Martin calls “The Bass Remains the Same”.
One of the first things I picked up when looking at the CD was a name that I have known for quite some time: Mauritz Lotz. I have never met Mr. Lotz, but was told by a friend more familiar with this kind of music that he is one of the prime guitarists in South Africa. So my curiosity got the best of me and I skipped to track 8 - called “Axe Attack” - first.
Now after listening to this track a few times, I can say two things: firstly, the track is very aptly named, and secondly, my sources were not lying. The guitaring reminds me of axemasters like Joe Satriani – shredding at times with a ferociousness that makes any metalhead look up, whilst at other times equally comfortably playing calmer solo-like melodies. Inspired by this new experience, I skipped to track 4 – “Almost Unplugged”. Here I was encountered by a completely different feel than with “Axe Attack” - a sound that reminds me of the glorious (guitar) work of Carlos Santana, yet has a distinctly unique sensation to it that feels proudly South African. One thing is for sure, Mr. Lotz does not have to stand back for any guitarist I have seen or heard to date.
And my journey into a world I do not know continued. After a coke and a camel (Oops! Just gave away some free advertising there!), I skipped back to the first track, called “Just Jazz”. To be honest, I did not know what to expect, my only exposure to jazz being the JPS jazz studio on TV many years ago, and of course a little bit of a man with a trumpet called Miles Davis … Nevertheless, I was pleasantly surprised when instead of the musical equivalent of Greek to me, I encountered a smooth ride of piano and strings, very nicely accompanied by clear bass melodies and prominent, yet not overbearing drumming. Now I am one of those people that believe that the bass and drums should drive music, and Martin completely satisfies this belief throughout the entire album.
On to track 2, “Blow by Blow”, which is lead by an instrument that I rarely encounter – the flute. So imagine my surprise when I actually liked it’s sound! Feeling the need to broaden my horizons even more, I skip to track 6 – “Sax Appeal” (nice title Martin!) – to meet another relatively unfamiliar instrument, the saxophone. Of course some of the stuff I listen to has incorporated this gloriously melancholic instrument, but it is rarely used to lead a song (just talk to any lead guitarist in metal and you will need no further explanation!). I sat back, and as with the flute, let it sink in slowly. Very nicely done.
At the risk of taking up all the space in the current edition of the rag, I felt the need to point out two more highlights to me on the album. Track 5, “Hamm(ond)ing it Up”, is very nicely lead by a Hammond organ. Being a Deep Purple fan, I really enjoyed the feel of this song, once again driven by Martin’s bass and Andy Thomas on drums. Whilst expecting Ritchie Blackmore to start soloing any minute, I realised that guitaring was really not needed here, and I commend Martin for not including it. However, I do think it would be quite interesting to try something in the future where this organ is combined with the exploits of a fretdemon like Mr. Lotz.
A final highlight is track 7, called “Bass to Bass”. Here, Martin uses a Cort Artisan 5 string bass, together with his Warwick Series 2 Streamer, to show that sometimes you just don’t need more than a bass and drums in a song. Whilst constantly driving the song with deep riffs, Martin also ventures into a world where Steve Harris of Iron Maiden resides by nicely utilising the higher notes to create a polished and comprehensive bass feel. This full utilisation of the bass’s range results in pleasantly full melodies that are a true pleasure to listen to.
So after about five hours of listening, all I can say to Martin is very nicely done! Never in my wildest dreams did I think I could sit through something from this genre, let alone enjoy it! Though not converted from my roots yet, I won’t have to think twice before sticking “The Bass Remains the Same” into the hi-fi every now and then. And Martin, the metalworld needs you!