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Robert Walter: Cure All

Track List

>Snakes and Spiders
>Monkey Changes
>Cure All
>Scores of Spores
>Parts and Holes
>Rivers of Babylon
>Maple Plank
>Box of Glass
>Measure Up
>Hillary Street
>Bulldog Run

Album Reviews:

JazzTimes (p.113) - "On the title track, a funky B3 showcase for Walter that sounds reminiscent of an irreverent Medeski, Martin & Wood jam, Singleton stomps on a distortion pedal to make his upright bass growl with nasty intentions."

Kerrang (Magazine) (p.73) - 3 stars out of 5 -- "Walter's piano can conjure Mose Allison, his Hammond lines are meaty and fleet, and his solos are well-conceived on each keyboard in his arsenal."

Album Notes

Personnel: Robert Walter (piano, Fender Rhodes piano, Clavinet, Hammond b-3 organ, percussion); James Singleton (bass guitar); Johnny Vidacovich (drums, cymbals).

Recording information: Maggie's Farm, Buck's County, PA (06/25/2007-06/27/2007).

Photographer: Lourdes Delgado.

Robert Walter has no problem getting into funky, down-home soul-jazz when he wants to, but the organist/keyboardist/pianist also has his intellectual side. He obviously appreciates the soul-jazz that B-3 icons like Jimmy Smith, Richard "Groove" Holmes, Johnny "Hammond" Smith, and Jack McDuff offered in the '60s, but he has also shown his appreciation of Medeski, Martin & Wood as well as the post-bop and fusion that Larry Young explored after he moved beyond soul-jazz. And both sides of Walter's artistry serve him well on Cure All. If Walter (who forms a trio with bassist James Singleton and drummer Johnny Vidacovich) set out to offer a healthy balance of intellect and funkiness, he achieves that goal on enjoyable tracks such as "Maple Plank," "Snakes and Spiders," "Measure Up," and "Coupe." Most of the material is more cerebral than a typical soul-jazz performance would be, but at the same time, Cure All is less cerebral than Medeski, Martin & Wood's albums. Whether he is on organ, acoustic piano, or electric keyboards, Walter usually avoids becoming either too simple or too abstract. Not that there is anything wrong with either simplicity or abstraction; the straightforward, groove-loving bluesiness of Big John Patton and Gene Harris is every bit as valid a part of jazz as the most challenging pieces that John Medeski has had to offer. But Walter obviously wanted to avoid going too far in either direction, and that outlook yields consistently worthwhile results on Cure All. ~ Alex Henderson


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