OZ NOY TRIO

TRIPLE PLAY

(Abstract Logix)

Oz Noy remains one of the most colourful of modern fusion guitarists, happy to blend jazz, funk, and rock for stylistically appreciative audiences. Often favouring a trio format for tours, this album features Noy with Jimmy Haslip (Yellowjackets, Robben Ford) and Dennis Chambers (John MclLaughlin, Mike Stern) in a live setting during a European run. The result is fresh, vibrant and virtuosic without overdone grandiosity; they instinctively know how to shape dynamics to create variety and space. Zig Zag is the opener, a Meters-esque instrumental with great rotary and clean Strat tones, used with precise pedal stomping shifts. Groovin’ Grant is a rocky jazz-blues as Grant Green may have done today, a great showcase for Oz’s more dirty single-coil tone. The exotically moody Bemsha Swing, originally by Thelonious Monk is sultry, dark and groovy with great band interplay. For the intimacy and space alone, their take on Charlie Parker’s Billie’s Bounce is worth a listen or three as they solo, dart and chill around each other. The swinging soul-blues of Chocolate Soufflé still tickles the ears; Oz’s confident dragging of the groove behind the beat sounds so fresh and tense, the emotive chord changes resonate well and the later solo spots are really outstanding. Live blues-fusion at its best! (JS)

anthemic guitar work and dynamic shifts. The swampy stomp of The Fever is a particular standout, with a span that nods back to ZZ Top and forwards to modern rock production intensity. If one hankers for further rock pulverising, then Voodoo Priestess is outstanding; grungy guitars, screaming slide work and exclamatory vocals will shudder your speakers. (JS) actually taught her), she’s grabbed the guitar world’s attention and has now released her debut album. Enhanced by various guests including Matt Heafy (Trivium) and Nathan James (Inglorious), her classic rock and metal roots shine through, be it with palm-muted powerchords or slippery legato leads. The title track begins with clean ambient guitar before thick distorted chords take over. With Lzzy Hales on vocals, it’s a big-sounding song with one of Lloyd’s more chilled solos. The drop D fuelled Let It Hurt features Chris Robertson for a husky American-styled rocker, big on production and sonic punch. For a more modern shred presentation, Fall Of Man with Matt Heafy is worth a listen, not least for the tapping legato intro and later solos. (JS)