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The Super 20: Winds of Wareika

A number of reggae albums have already advertised a similarity to Rico Rodriguez's masterpiece "Man from Wareika". at "Winds of Wareika" (The Super 20) by The Super 20 I would be inclined to let this marketing strategy get away with it, because what the 12 musicians gathered on the album deliver here is simply grandiose wind instrumental music. The mastermind of the Super 20, the New York saxophonist Lee Hamilton, conjures up the classic horn sounds of Don Drummond, Rico Rodriguez, The Crusaders or Fela Kuti and fuses these influences with modern sounds a la Thievery Corporation or Quantic. In doing so, he occasionally exceeds the narrow limits of reggae, but this is by no means negative. Sometimes Latin comes into play, sometimes it sounds like Afro Beat. But the saxophone always plays the leading role. In addition to Hamilton, numerous other musicians have contributed to the creation of this debut album, which can also be heard clearly, because the productions are richly and opulently instrumented. In general, it has to be emphasized that the productions are extremely successful. They are a collaboration between Hamilton and Boston producer and engineer Craig Welsch. The two began working together in the early days of the band John Brown's Body, with Hamilton forming the horn section and Welsh acting as sound engineer. So for years the two have shared a common notion of what “feels good” about making music. This shows that trumpet, trombone and saxophone manage with ease what the melodica is denied, namely to develop the necessary expressiveness to lead instrumental pieces and to carry them loosely over the length of the album. So it's no wonder that the whole album feels super good to me too.

Rating: 4.5 out of 5.

One Reply to “The Super 20: Winds of Wareika”

There is no obligation to comment again on every reviewed album and the associated review, but my habit of doing it almost again and again obliges me to ask forgiveness for the two album reviews of “Dexter Dub' and 'Culture Horn Sound System'. I listened to them quite productively during my vacation - in one day. However, since my G(r)as storage was very well filled, I had a very high "energy" consumption and had little or no access to my communication system in my head. Also, I found the Dubs – as always – not so bad, but my thoughts on it were just too blurry to write anything halfway concrete about it. However, I can't resist expressing my feelings about these "jungle" / drum and bass riddims at Dexter Dub to describe.
If reggae is mainly based on the heartbeatridim of people, I can understand why I and other people around the world get such a good feeling from it. But this “jungle stuff” feels too much like cardiac arrhythmia for me and mostly only pills from the chemical factory help against that. Well, I think these “rhythms” are a mistake anyway. ( The DubBut the atmosphere is very well done, I have to admit ).
Yes, and “Winds Of Wareika” is definitely very good music too, if I'm not mistaken. I really like the unrolled rhythm carpets. There might be a little Latino deep down inside me... I do not know. But already on the cover the saxophone is held out to me like a warning with an exclamation mark and doesn't bode well for me, or rather it arouses the expectation that there is probably too much of it again. And yes, the expectation was not disappointed. The melodies of the horns are altogether something for my taste, but my life experience tells me that in the end I'm annoyed by the whole horn again. Too often I've overcome myself and bought windows with a decent blower and then found out at home that it gets on my nerves in the long run. I also have one or two samplers by ( the convicted murderer ) Don Drummond in my collection, but despite the fantastic original riddims, I usually don't get very far. Better Don Drummond In then Dub !
And also with “Winds Of Wareika” I would focus on the DubVersion of the album rejoice when the whole blower is exact as it should be Dub heard, similar to what is usual with singing, is simply sent into the room with reverberation and echo. In the case of Rico's "Man from Wareika", however, I contradictingly prefer the "normal" version of the album, since the DubVariant is a bit too rootsig advised and with Dubeffects but very stingy. Which isn't particularly sparkling on the whole Dubatmosphere of the album "affect tut". In addition, the (not) Dubversion of the album is also much richer and fatter.

Nevertheless, I wish everyone who doesn't suffer from "saxophobia" like me, a lot of fun with this nevertheless very successful "disc".

Until then …………………………. lemmi

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