THICK

This album changed the way I listen to music!

I'm shocked that I'm the first one to write a review on this amazing piece of music.

Not for everyone, but if you enjoy VERY talented musicians improvising, pushing forward and just having fun this is for you.

What you get here is hot, other worldly, alienish, bizzare, original and addictive fusion by this famous jazz rock fusion quartet.

I playd the game Half-Life while I was listening to this album and it was the perfect soundtrack for those alien worlds and scary moments.

This album was a change of direction for the unique talents of the tribal tech squad, this time they went for a more open sound - they improvised in the studio and then overdubbed instead of writing most of the music in advace and just "blow thru the charts".

Now just so you'd know I respect the TT crew and love most of thier albums and side projects but on this project they really did something new, truely a new sound was invented in the end of 2K in the fusion field.

I'll do a track by track review just so you'd get the idea, but honestly - you can't, not until you've heard the album:

1. 'Sheik of Encino' starts slow, with little touches by all, sprinkeling a few jazzy lines and building the ground for a Scott Henderson solo which starts with a few volume swells ala Jeff Beck and then evolves to the "Bluesy/Chromatic" style Scott is known for. After scott does his thang we get some time to catch a breath, and it's time to introduce the spacey, alienish sound for the first time, provided by Gary Willis' mutated bass lines and otherworldly sense of timing, and Soctt Kinsey's keys patches which sound like an alien-saucer just flew by your bedroom window. The piece evolves from the spacey vibe to a high octane assault by Kinsey who takes a few ideas from old timer Joe Zawinul but maintains a true origanl flowing sound all himself.

2. 'Party at Kinsey's' does sound like a party, but picture as if Kinsey's is a very populer bar in outer space, imagine if you will the Cantina in the Star Wars series. The piece goes from this strange feel good vibe to an even funkier direction, with a few jazzy lines here and there and what seems to be a trumpet line played by either one of the Scotts. A very fun piece but not the hot fusion you usually associate with TT.

3. 'Jalapeno' starts very funky and just flows until there comes one of the best bass solos I have ever heard, and I've heard a few. Gary Willis sure knows how to build a solo from scratch and he does it with a very unique sound. Right away as his solo ends he starts playing a groove that sets the ground for a Henderson attack, very tastey!

4. 'Clinic Trol'l is spacey and very strange, and features a funky vibe plus weird noises and voices of what must be a troll. Another fun piece with that original sound that gives this album its own identity.

5. 'Thick' is an 11 minute exercise through the dark tunnels of our mind. An evolving masterpiece that flows and visits many a place, but not for long, constantly playing with the vibe and the mood but mostly stays very dark. You just have to hear the interaction between the boys here and realise that they know each other very well and just enjoyd exploring this direction. Henderson's solo is killer, employing the Wah Wah pedal to great effect and driving the piece to an erupting climax with an angry vibe.

6. 'You May Remember Me' is the most alienish piece on this album. You have to hear this to dig those vibes! The two Scotts create a very spacey mood and the beat is very tribalish here. At some point Henderson plays a very emotional melody over a different beat and brings this work of art to a close.

7. 'Slick' starts with a bouncy groove almost Drum n Bass like, and features a very fast, well articulated bass solo from Gary - unbelievable! The vibe here is more jazzy and jumpy while Kinsey paints with his chromatic lead lines. Then it's time for another Henderson solo, you can't go wrong with him blasting away - total ear candy! Then it's time for some drums freak out courtesy of Kirk Covington but it's all in favour of the music.

8. 'Somewhat Later' sounds like an alien sitting and playing some old school alien blues slide guitar with his friends in outer space, plus you get a barlking dog and some wordless vocal. Another feel good piece.

9. 'What Has He Had?' is one of the better fusion workouts on this album,starts dark, builds slowly and gains momentum. A bluesy guitar solo enters just at the right time, then a very strange, effect laden bass solo which evolves to a new kick ass, energetic riff and lets the boys rip down some hot action on us, just to go easy on us again. Just when you think everything is calm in spaceville they turn around and start blasting again with a new riff! Ass Kicking!

At the end you get a short 'secret' track, kind of a parody of an untalented prog band, complete with cheesy Emerson Lake & Palmer like synth, and very bad guitar playing, to top it of, you get the sound of a very amused crowd laughing thier ass off on acount of the unlucky band - great fun.

In conlusion - as I said not everyones cup o' tea, but a very strong and original album. The truth is I did'nt see it coming from the boys at TT, but I'll never doubt them again.

BTW the next album 'Rocket Science' has the same vibe but does not hold as well as 'Thick'. IMHO if you liked 'Thick' and want more then get 'Rocket Science' too.

Enjoy

After it debuted in 1984, the quality as the music of the band might always have had the diversity of the revolution and the idea. The member of an initial band had changing places and it was 1992 established as the member of a present band.

It was only one participation though guitar player's Scott Henderson received the request from Elektric Band of Chick Corea when this band was started and participated in the recording. It might have been shown that this band was a very important band for Scott Henderson.

Scott Henderson appears in Florida in 1954. He is talking as influencing from a variety of guitar players. The style absorbs various methods and theories as a method of his performance and it is established as an unique method though it is talked that it is influenced from the guitar player of Jimmy Page and Jeff Beck.

However, it might be also true in the method had been established by the Zawinul syndicate and Weather Report, etc. by which he was on the register partially of the method of use as the idea of the performance that the band does and how to assemble the tune by Scott Henderson for about four years that there was an influence in this band. It exists for this band talked Gary Willis when Scott Henderson and is always special existence important. If these two people become nuclei and the band is never pulled, Jazz/Fusion that the quality that this band does is high might not have been able to be made.

This album that spends from "Reality Check" announced in 1995 for indeed three years or more and is made has completely changed the recording used as a method till then method. The mechanism that the member performs from the method the member's having been bringing together the idea and the phrase by the improvisation is adopted. The work edited to always record the performance of the improvisation to some degree and to finish it up from the part in the tune will have been a novel method for the band. The flow of the tune that used the element of a few ethnical in addition to the flow with the tension while making the best use of the part that had been recorded as the entire impression of the album might have given a fresh part to the music character of the band. The method as Tribal Tech might be established though it has the part of the tune that is reminiscent to the part where Jazz/Fusion is good of Weather Report.

"Sheik Of Encino" shifts from the part of complex ensemble and the improvisation to Solo of the guitar. There might exactly be an element and a tension that Jazz/Fusion is good. The tune is kept a quiet as it is improvisation and reaches the top. The keyboard and Bass also contribute.

"Party At Kinsey's" has the melody of ethnical as an impression of the rhythm and the keyboard. The methodology of the music that Joe Zawinul does might be reminiscent. And, the element that adds the sound of the trumpet in addition to the part of unique of the tune expands the width of the tune.

"Jalapeno" starts by developing a complex rhythm. The part where the band was recorded by using the improvisation method will be able to be discovered exactly. The progress of the code in close relation to Solo of Bass continues the tension. The line of the guitar and Bass contributes to the tune.

"Clinic Troll" uses the part of the element and the improvisation of ethnical from the part of an intermittent sound. A friendly theme might not exist. It might be a tune as a derivative idea to the flow of the album from the part of the improvisation used that gives the part of unique.

As for "Thick", the sound of the keyboard with the line and the anacatesthesia of Bass with the tension is impressive. The tune shifts to the rhythm of Funk and advances. The flow of the guitar always keeps the impression.

The sound of the keyboard with an electronic part from the start with the tension twines round "You May Remember Me". And, it changes into a moving ballade that is reminiscent of the methodology of Weather Report. The guitar is reminiscent of the performance of Jeff Beck. The impression of the tune is kept and a beautiful flow is continued.

As for "Slick", very high-quality Fusion is developed in this album. Ad-Rib of Bass might be considerably high-quality. And, the flow that shifts from the keyboard of Scott Kinsey to Solo of the guitar might be a part where Jazz/Fusion is exactly hard. The tune gradually advances toward the top. Fast Passage is kept and the band rushes into a high-speed part. The part of Coda gets excited indeed. The band advances in union.

"Somewhat Later" is a tune with the impression that the element of country tunes intersects with the impression of ethnical. A racial melody twines round the idea of an acoustic guitar of Scott Henderson to make good use of the bottleneck.

"What Has He Had?" continues the part where the element of ethnical was used from a quiet standing up. The rhythm remains stable and rushes into the top gradually. The impression of a tune advanced as the element of Blues Rock twined might have expanded the width of the album. The tune progresses gradually from the part of the improvisation. The sound and the development of the keyboard that appears at the end of the tune will have a progressive part.

The recording method and the idea of the performance expanded the possibility further for Tribal Tech by this album.

I'm also surprised, as the other reviewer, that this amazing recording by Tribal Tech has not been lauded and reviewed at least fifty times.

I will begin by saying that I am not a big fan of the blues. I have a low tolerance level for repetitive lines, licks and chord progressions that have been heard ten thousand times before. However, this is one of those exceptions where the playing, although grounded in blues and jazz-blues, is so outstanding that it raises the bar beyond most anything that's being done today.

If you need structure, themes, choruses and predictability in your music, then this album is not for you. But if you'd like to challenge yourself and taste and absolute masterpiece of jazz and blues improvisation then I highly encourage you to buy this album and listen to it carefully. The interplay between the musicians and their ability to accent and highlight each others' lines are reminiscent of classics like Miles' Bitches Brew and Herbie's Crossings and other "ambient jazz fusion" records from the early 1970s.

What differentiates this TT record from the aforementioned is the guitar, which was mostly non-existent on those 70s sessions. On Thick you have Scott Henderson on guitar, displaying a blend of virtuosity, inventiveness and inspiration seldom heard in today's overly abundant power-chord and shred-heavy affairs.

Thick is one of those rare records that's able to get nasty, heavy, electric and downright mind-blowing technical, yet retain an organic feel throughout its entirety. The title track has to be one of the best examples of cosmic blues guitar I have ever heard with a slow ambient build-up that climaxes on one of THE BEST solos I have ever heard. I am big fan of using wah pedals tastefully, to add emotion and tension, and Scott raises the bar on wah soloing to unprecedented heights.

(If you're a tone junkie, then you will get your fix with Thick. Henderson's tone is so THICK, creamy, soulful, clean yet dirty, and able to pierce through the mix without sounding overbearing; not an easy thing to do in the studio).

Yes, there are other musicians on this record aside from Scott; even though the guitarist steals the spotlight. The rest of the band is amazing, as well, and maintains an airy, spacey foundation without losing the groove; and there are plenty of grooves. But, the grooves never last too long for the music to get repetitive or boring. First and foremost this a jazz record and the accompaniment adheres to that premise.

On the track What Has He Had the band goes into a King Crimson-like drum and bass syncopation that ends with voices laughing and clapping behind dissonance and chaos. An absolute surprise, yet seamlessly fitting right in with everything else on the record.

Sheik Of Encino starts out sounding a lot like the smoother jazz fusion of the late 80s and ends up rising to a frenzy worthy of challenging the very best of Weather Report or the Mahvishnu Orchestra. Of course, to keep up with the overall theme of the record, there is an obligatory ambient section in the middle with some keyboards and cymbal work that doesn't disappoint.

In conclusion, this is easily a five star recording, but not of "progressive rock music", but of ambient-jazz-blues-rock-fusion. A masterpiece is a masterpiece and it doesn't have to be Anglo-European-classically influenced for it to be considered "essential"; nor does it have to have a story line like The Lamb on Broadway for it to be deep and thoughtful.

If you're ready to step out of your comfort zone and take a break from the predictable metal power chords or the old and tired symphonic prog, Thick presents and opportunity to engage some of THE BEST improvised jazz-rock that you will ever find.

FIVE STARS for Thick.

3.5 stars. TRIBAL TECH have released 10 studio albums over the years and I have two of them, this one called "Thick" from 1999 and the followup called "Rocket Science" from 2000 which I feel is the better album. "Thick" is a good one though with plenty of variety. Gary Willis the bass player gets equal billing with guitarist Scott Henderson on the album cover as he had been getting for a few albums after starting out "Scott Henderson and Tribal Tech". Technical stuff here with Scott's unique style although he changes his style up often on here. Synths are okay but I much prefer when Kinsey plays piano, unless he's adding spacey synths as atmosphere. These guys are players so it's hard not to be impressed here.

Highlights for me usually involve Scott's guitar work but the bass is awesome too and I mentioned in my review of "Rocket Science" that this same drummer impressed me more than anyone so... yeah if your into complex playing without vocals check this band out. Scott plays in the bluesy style at times, even that country/folk style. Funk is on here too. No vocals but some freaky vocal expressions on the over 11 minute title track along with that funky and folky style. A light show from Henderson later on here which we also get on one of my favourites called "Slick". More of that on my other favourite "Jalapeno". Some misses in my opinion like "Somewhat Later", "Party At Kinsey's" and "Clinic Troll" but that's just my tastes.

A step down from "Rocket Science" in my opinion but many seem to disagree with this.

Scott Henderson is a benchmark in the jazz fusion guitar world. He can just as easily lay down a mean blues lick or rock you hard burning the frets like a wildman. Standing shoulder- to-shoulder we have the creative genius and frenetic bounce of Gary Willis on bass with Scott Kinsey's inventive keyboards magic. Confidently, Kirk Covington pulls a polyrhythmic mixer out and drums away any doubts you may have about the power and grace of Tribal Tech. These guys are always a fun ride with novel compositions and improvs that never cease to surprise the listener. A solid foundation of great jazz is obvious in Tribal Tech. You will clearly pick out strains of Chick Corea and Weather Report in all their releases. This band is never afraid to stretch, to totter along the edge, to wander into bizarre fugues, and then come rushing back at ya, head-on, 90 mph, with tight, intricate, jazz fusion solidity. Dynamic is the word here. And now with Thick they have gone a step further and decided to abandon the charts, the maps, and the guidelines. This is their chance to have a good time, to do what musicians enjoy most -- to spontaneously create in 100% freedom, seizing the moment, to let the chemistry of who they are come through. Thick is essentially an in-studio jam session where four skilled guys let it all hang out. It is a treat to experience such an endeavor, even secondhand, through a recording. My hat is off to Tribal Tech for having the courage to offer themselves to us like this. I have followed Henderson et al since the Corea days to the Nomad release, into Reality Check, and elsewhere. You will find traces of Tribal Tech's whole sonic spectrum in Thick. A couple short tracks are laidback with a "just goofin' around" quality but the predominant weight of this release has things going on that are downright awesome. Henderson has so many extended fiery solos you'd think a Hendrixian "Machine Gun" had jammed. On the 11:15, title track, you'll hear JIMI, Jeff Beck, SRV, and even a titch of Steve Vai's wah-wah, orgiastic abandon. I swear Kinsey sounded like Jan Hammer on "Sheik of Encino" but evoked that Weather Report Zawinul moreso elsewhere. An abundance of great keys is interlaced everywhere in Thick. Willis is, of course, bass-ic perfection and inspiration. Check Willis out on "Slick" and "What Has He Had?" Whew! Covington drums his way around all the Thickness with ease and enduring strength. Nuff said. Jazz rock fusion, blues rock, jazz, avant garde, live jamming fun, high energy, introspection, and freeform phat magic are all resident here. Those of you wanting to hear Henderson "tear it up, stomp it flat, and push it over the edge" will not be disappointed with Thick. I need say no more. It's your turn to check it out. A highly recommended offering. (Mystery track included!)

Fusion masters Scott Henderson and Gary Willis dispatched along 1999 with this jazz rock cuasi-masterpiece. Complemented by two relevant figures from the jazz ambient, like keyboardist Scott Kinsey and drummer Kirk Covington, both historically close to Weather Report mastermind Joe Zawinul, I can say that as a whole album, Thick is the best production of Tribal Tech, at least in my opinión. Henderson and Willis are clearly amazing musicians who shone in the fusión universe not only with Tribal Tech but within another fascinantig projects like Vital Tech Tones (Henderson) or Uncle Moe Space Ranch (Willis) without counting their solo Works. Here, and in Henderson words, "There is a difference between Thick and the previous albums. Thick is much more improvised, but beyond the jazz concept. There was no music written when we went to the recording studio and no prior talk about music. We went directly and played", and the result is fascinating. Dynamyc, eclectic and for some moment a sort of minimalist art, Thick surely will catch you if you love prog and fusion as me. The set list kicks on with a superb groove from Gary Willis' bass in Sheik of Encino, over which Henderson begins to build his amazing solos. At the half of the track Kinsey enters with a sort of arabesque solo to which is added the guitar in a continuous crescendo. Second number Party at Kinsey is more or less in the same style, excellent. Tracks like Clinic Troll and You may remember me sounds more stripped and minimalistic but absolutely amazing. Slick stands out by Willis's bass solo work at the beginning for more than a minute, susteined by Covington drums, after that Henderson goes with an amazing and long solo. But the true star of the album is the title track Thick, a true fusion prog piece of eleven minutes. Starting with a bass repeating motive, Henderson and Kinsey begin to interact over it, adding the drums too in a clearly an amazing sort of improvisation. This dyamic is maintenied up to the minute 6 more or less where they take a break. The journey starts again with Willis amazing bass and then Henderson's guitar effects till almost minute 8 where later starts a furious solo over Willis running bass lines for almost two minutes. A short break and then the glorious last minute. A masterpiece no doubts. The album completes with a short and forgetable filler called Somewhat later, and the second long track What has he had, a good one but not on the level of the rest. Highly recommended music.