Archive for May, 2010
Link to the article HERE
Damian Erskine – “So To Speak”
Bassist Damian Erskine’s name may sound familiar – he is drummer Peter Erskine’s nephew – but he is also forging an identity as a top-notch electric bassist. On his newest recording – So To Speak, the Portland, OR-based artist has assembled some of the best Latin jazz musicians from the area to produce a hearty disk of funky Latin-flavored jazz fusion. Erskine’s sound is somewhat Jaco-esque, but with his own zest, and he plays several prodigious solos as well as propelling the songs with his acute sense of rhythm. However, despite his incredible technique, he never overplays and instead stays within service to the songs. Erskine is joined by drummer/percussionist Reinhardt Melz and percussionist Rafael Trujillo to create a monster rhythm bed that pianist Ramsey Embick and guitarist Chris Mosely are free to float over. Guests appear on tenor and soprano sax, trumpet and additional percussion on some of the songs. Everything is tasteful and melodic and compelling, with the delicious “Kaluanui” – driven by Erskine’s funky bass chords nearly reaching contemporary jazz “hit” status. Erskine has played with people like Gino Vanelli, Les McCann, Jeff Lorber and, of course, his uncle – who he says instilled a love of rhythm in him. Most of the songs such as “Inside Out,” “FIF,” “American Gyro” “Aslant,” “Caberina” and the album-ending “Creep” are mid-to-up-tempo with a funk fusion and Latin factor, but the tune “Light” lives up to it’s title and showcases Embick and Erskine nicely on a balladic tempo. I suspect with the talent he shows here, we will be hearing much more from this player/composer.
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Read the full interview here!
West coast bassist Erskine has been a name to watch for some time now, bubbling under with a debut album Trios that saw his vibrant six string bass playing tackle many well known standards such as Wayne Shorter’s ‘Footprints’, Chick Corea’s ‘Spain’ alongside some flamenco flavoured originals. While his technique and taste were impeccable it’s his mighty groove capabilities and strengths as a composer and bandleader that really shine here on his follow up. In fact it’s these latter qualities that make So To Speak a real joy to listen to, marking it out as a real ‘band’ record and not just a vehicle for some OTT bass chops. Fundamental to this is Erskine’s deep pocket grooves that while complex and full of his trademark syncopated thumb and finger plucking (his subtle update on Wooten’s double thumbing) it’s each song’s shifting meters, hefty Latin funk and soulful modern jazz that really make this a set that’s brimming with energy and emotion. One of the album’s more mind melting grooves is featured on ‘FIF’ which lopes along in decidedly funky 15/8 over which guitarist Chris Mosely and Erskine weave a snaking melody line, before a typically darting bass solo full of cracking percussive runs and a few close harmony chords. The percussion party really starts after Rafael Trujillo’s clattering timbale break and the band set up a Santana-esque Latin vamp in 5/4. It’s Erskine’s talent for blending subtle chords and a counterpoint bass line that adds weight to opener ‘Inside Out’ or the laid back funk of ‘Kaluani’, while the dark expanse evoked on ‘American Gyro’ takes on a hypnotic, pulsating quality. By tapping into his greatest strengths as a modern groove master with top-notch technique, Erskine shapes this exciting session perfectly from the low end, showing that a powerful groove-led performance can outshine the flashiest of soloists.
Mike Flynn – Bass Guitar Magazine
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