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Artist: Stan O'Daffer Reviews:
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Sometimes, a work comes along that is so unique that a review can scarcely communicate the recording's essence. Such is the case with Stan O'Daffer's new release, Sweet. Sweet is not just a concept album; it is part of an ambitious attempt to unite the written word with music in an exciting way. It turns out that Stan, a Minneapolis keyboard artist, is also an accomplished writer, as well as a paleontology buff. So, besides the album Sweet, there is also the book Sweet, due out at about the same time as the CD. Sweet is the story of a baby allosaur (named Sweet) who is living during the Jurassic period of prehistory. The album and book detail his travels through his land and time as he is separated from his tribe and must grow up on his own. Now, you cynics can go right ahead and start chuckling about baby dinosaurs and such. However, by dismissing this CD with such a near-sighted opinion, you will be missing an incredibly varied musical portrait that encompasses such diverse genres as jazz-pop fusion, blistering guitar-oriented rock, piano-based tone poems, and neo-classical adult contemporary. This complete lack of a single musical motif will undoubtedly throw many people for a loop. It is to Stan's credit, however, that this vast palette is exactly what his vision called for. Joined by capable session players (acoustic guitarist Dean McGraw, electric guitarist and bass player Rik Stirling, fiddle player David Stenshoel, tenor sax player David Marden, and cellist Tim Perry), O'Daffer has produced a rich sonic story, showcasing his uncommon talent that cuts across many genres. His piano chops really shine, but it's his composing ability that distinguishes this recording the most. Musically, here are just a few of the cuts detailed. There is the lush synth and cello opener "Dawn," followed by the breezy piano of the jazzy "Journey." This segues into the wah-wah pedal-led rockish "Storm of Years." Still later, we have the new age-jazz fusion of "Gliders" (bringing the collaborations of Paul Speer and David Lanz to mind), the smoky slow jazz of "Solitude of Silence" and the upbeat fun of "Hatchlings." The album closes with the anthem-like "Eternity's Tomb" which may remind some of you of the prog band The Flock with its use of rock rhythms married with fiddle. All in all, the scope of this recording is such that, as I said to Stan recently, it's a hard sell to any but the most open-minded. Jazz fans may be put off by the rock or "new age" textures. New age music fans might recoil at the outright rock and jazz songs. And as for ambient lovers &endash; forget it. But, if your tastes are broad enough and your spirit adventurous enough, the rewards which Sweet offers are many.
Stan O'Daffer's Distance is a promising debut from a keyboardist in my home town of Minneapolis. It's an album of varied textures and melodies, spanning more than a few styles and moods and is a treat for those of you who enjoy your recordings musically diverse and yet cohesive in technical proficiency. "Origins," the album opener, is an uptempo song, played mostly on piano (once you get past the synth chorus opening). Stan also plays assorted percussion on the album and there are some subtle percussive effects here. This song displays Stan's passionate intensity and his softer side, too. "Freeway," another uptempo number, is a great tune. It definitely conveys the mood of driving at fast speeds. Stan's background is in jazz and this song certainly mirrors that fact. The ivories get a real workout. "Distance," with piano and various synthesizers working together, is a ballad that's tender but never sappy. Stan blends his various keyboards well, only slightly erring in this song with a solo violin sound that seems a bit loud in the mix. When solo strings are synthesized, I like them kept in the background, while a real violin has a natural warmth that plays better in the forefront. Still, the beautiful melody is enough to carry this song to a nice finish. "Northshore" has a quasi-funky rhythm, kind of loping I suppose, that may take some getting used to, but I get a kick out of it. One of the things I admire about Distance is that Stan takes some musical risks throughout the recording. By the way, this song also features the expert acoustic guitar playing of Billy McLaughlin. On some songs, the electronics take center stage, like on the sprightly tune, "Fragile," again counterpointed by Billy McLaughlin's guitar, or the has-to-be-heard-to-be-believed "Snowflakes." Despite its name, this song could be from a yet-to-be-released Tim Burton movie (maybe a sequel to that great comedy, Beetlejuice). It's scary, funny, weird, and happy all at once. "Autumn" is another somber piano ballad, and a good one at that, with just the right amount of wistfulness in the music to remind me of barren trees and walks alone through the fallen leaves. The album closes with "Good-Bye," a nice piano and synth song, wonderfully uptempo with a mixture of joy and sadness that is indicative of what good-byes are, I suppose. Distance reminds me a little of Wayne Gratz's Follow me Home in its great balancing of very polished piano playing with imaginative and proficient synthesizer work. Stan is a gifted pianist and also someone with a quirky compositional style, and I mean that in the best possible way. He has made a highly individualistic recording, and one of very high merit, too. |