Reviewed by Kai Horsthemke

When I first received Edo Castro’s album ‘Phoenix’ for review purposes, two things about it set me on guard immediately: first, the image of a 9-string bass on the cover (I mean, who on earth needs these things?) and second, the inclusion of that awful and omnipresent tune, ‘Amazing Grace’. Well, that was then. ‘Phoenix’ is a near-completely beautiful, exquisitely crafted album. Castro is much more concerned with mood and texture, not to mention melody, than with extroverted, chops-flashing bravado. Case in point: who would even think of covering Ralph Towner’s breathtaking composition ‘Beneath an Evening Sky’? Castro does it full justice, with the elegant fretless melody set against a chordal backdrop, rendering the complex time signature of the piece almost unnoticeable. ‘Bone Dreams’ adds pedal steel guitar (Rob Powell) and tabla (Debropriyo Sarkar) for texture, and ‘Song for the Electric Whales’ is a moving (and sonically accurate!) tribute to these magnificent creatures. The blues-based ‘Blue Asia’ features like-minded Mark Egan on fretless 8-string bass, apart from Castro himself. ‘Chance of Rain’ reprises the ambience of the second selection, and the title track is the only real ensemble piece here: it contains few surprises but is a pleasant track nonetheless. The Native American flutes of Blue constitute the featured instrument on two evocative tracks (indeed, the sole instrument on the 9-minute-plus ‘… Part 2’; how is that for unselfishness on the part of the bassist?), and ‘Rise’ is the Methenyesque album closer, with Castro on nimble fretless. So, what about ‘Amazing Grace’, then? It begins promisingly, with Castro reharmonising this trite tune. But then the voices come in, and everything goes downhill from here. To me (as someone with a profoundly atheistic worldview), the lyrics have always been simple-minded, and while Castro’s changes here should be noted, the vocal acrobatics further propel this piece into the abyss of the eminently skippable, unconnected as it is from the rest of the CD. However, this is the only blemish on an album that is otherwise a veritable gem.

Grant Stinnett comes with a considerable pedigree. He is the son of Jim Stinnett, who is featured here on bass (‘Raindrops’, ‘High Tide’), as well as on tasteful keys (on 3 tracks). The opening tune, ‘Raindrops’, is an appealing tap-plus-fretless feature, and ‘Chaotic Spot’ combines funk bass with tap virtuosity (bassist Brent Rusinow is featured here on the intro and a solo). ‘Dark Light’ features saxophonist Dino Govoni, as does Rob Gourlay’s composition ‘Lee’s Circle’ (which also showcases bassist Gourlay’s skills). ‘O’s Lament’ is a solo feature that allows Stinnett to pull out all the taps. The next track, ‘The Traveler’ (a father-son compositional collaboration) is one of my favourites here: great tune, beautifully played. ‘I don’t need Wings to fly’, with Stinnett also on guitar, Govoni on soprano sax and Jim Stinnett on keys, explores some of the ‘outer’ territories, an interesting piece. The father and son bass duet that follows is big on chops but also features wistful fretted and fretless melodies. ‘Money in your Pocket’ is a rocking trio tune (with Everett B. Pendleton on guitar and drummer Tom Arey), with a triple-tracked tapslap interlude by Stinnett. ‘Preview’ ends the CD, an all-too-brief solo vignette by the bassist. Big on skill and attitude, perhaps less so on compositional impact, ‘G-Money’ is a superbly recorded and mixed album that is best enjoyed on high-quality ’phones or by placing your head between two speakers.

Although a collaboration between two formidable bassists, Rob Gourlay and Jim Stinnett, ‘Two Low’ is also a showcase for the guitar/ vocal talents of Lionel Loueke. Let me start with the only track I don’t like on the album. I don’t mind its ‘eclecticism’, but ‘I miss Mr Rogers’ has an unattractively artificial sound to it, although it contains some real instruments. The soulless feel of the programming seems to infect the whole of the tune: this is the one to skip. That said, however, there is a wealth of aural information and delight here that invites repeated listening. ‘Jubilee’ kicks off the album, featuring Gourlay on tapped and Stinnett on fretless basses, a real celebration. ‘Landscape’ and ‘African Dream Quest’ belong together, with both bassists trusting the grove, Loueke flying high, with strong echoes of Zawinul’s solo work. ‘Double Agent’, again, has a strong groove, Gourlay introducing the talkbox effect on bass (remember the 70s?). ‘Ebenella’ has Gourlay tapping and chording and Stinnett doubling on fretted (for the solo) and arco double basses. ‘Motor’ is driving music, bound to put a huge smile on your face as you’re aiming for the horizon – great fun. ‘Si je …’ is a medieval-sounding, contrapuntal duet: gorgeous! ‘Slippery Moon’ introduces young Grant Stinnett on odd-time taps, with Gourlay playing the intro and comping, and Stinnett senior responsible for the melody and solo: this is a lesson in not treading on one another’s toes when 3 bassists get together. ‘JLP’ has Stinnett on double bass and fretless, after Loueke’s acoustic intro: a beautiful ballad, with Loueke soloing brilliantly, too. ‘Waltz for Jan’ is a gentle, yes, waltz that features Gourlay on fretted basses and Stinnett comping on upright, soloing on fretted bass. ‘Chipper’s Dream’ offers some relaxed swing, before Chick Corea’s sizzling composition ‘Got a Match?’ rides out the album. This is an utterly tasteful, unhurried adaptation, an appropriate closer, with Gourlay and Stinnett on fretted on fretless basses, respectively.