AMG Review by Paula Edelstein (4 1/2):
Dave Weckl's third release for the Stretch Records label reflects a new direction; seven newly penned compositions, new techniques, and new personnel. Aptly titled as Transition, the drummer benefits tremendously from his longstanding musical relationships with saxophonist Brandon Fields, bassist Tom Kennedy, and, the newest member of the band, keyboardist Steve Weingart. In addition to the four-piece lineup, Weckl jams with new percussive techniques; the incorporation of bongos, a tombek, wind chimes, and metal percussion into his drum setup. Just as the chart maker Synergy showcased the leader's ability to groove as well as to cut loose, Transition provides generous doses of high-energy drumming that characterized Weckl's days in Chick Corea's Elektric Band and the Akoustic Band, with the two approaches revealing a marked convergence. "Mild Hysteria" has a bluesy melody that changes gears harmonically for the solo sections and features the artist drumming in a fast double-time while the rest of the band is almost in half-time. Brandon Fields' "Group Therapy" features the saxophonist's swinging groove and great blowing. "Passion" is an emotional number that features the Steve Weingart great keyboards in tandem with Weckl's delicate, percussive ambience. Fields' beautiful sax is resonant and alluring on his solo and deepens the impact on the listener. "Crossing Paths" is another great song with a catchy melody that is marked by the consistent bass playing of Tom Kennedy. Together, the Dave Weckl Band is an ensemble that has blurred the line between soloist and accompanist and creates layers of sound that flow between several distinct moods.
On Transition, Weckl and his recently reconstituted band (keyboardist Jay Oliver and guitarist Buzz Feiten have departed, and keyboardist Steve Weingart is added) continue to mine an area of jazz-rock / fusion stylistically bounded by Weather Report (post-Heavy Weather), Herbie Hancock’s Headhunters, and Chick Corea’s Elektrik Band.
Corea is listed as a co-executive producer on Transition, and Weckl first came to prominence as a member of Corea’s band, so the fact that Weckl’s music recalls some of Corea’s more recent efforts comes as no surprise. Weckl's fluency with Latin rhythms (acquired, perhaps, through his work with Corea and pianist Michel Camilo) is particularly evident throughout Transition. On "Braziluba," keyboardist Weingert and saxophonist Fields voice the themes and melodies in a way that immediately recalls the work of Zawinul and Shorter. Weingert, a new player to me, is an excellent choice for this particular band. Though not a noisy explorer like Scott Kinsey, he generally avoids the really godawful gooey, saccharine synth sounds. His warm jazzy soloing on faux Fender Rhodes reminds me of Alan Pasqua’s work with Tony Williams' Lifetime. He also leans pretty heavily on a Hammond B-3 sound on several tracks (e.g., "Group Therapy"). Fields is straight out of a Michael Brecker / David Sanborn bag, and fits easily in to the band sound. On "Passion" Fields steps outside these boundaries a bit, but not enough to keep the tune from veering off into smooth jazz territory.
Weckl and bassist Tom Kennedy have been working together for almost two decades. Their very profound rapport is one of this CD’s highlights, and recalls that established between drummer Mike Clark and bassist Paul Jackson in the Headhunters. Unlike Clarke, Weckl is less content to lay a snappy groove down to support the soloists. Granted, Clarke had some truly amazing soloists to support. As good as Weingert and Fields are, they are not on the same level as Hancock and Bennie Maupin, or Dave Weckl for that matter. So, it seems appropriate that Weckl’s incredibly polished, technically prodigious drumming is firmly at the center of Transition. In fact some of his compositions seem to be formed around pre-conceived drum fills and punctuations.
The music, though far too sophisticated to succeed as a background to your next dinner party, definitely has the same sort of high-production glass and relentlessly cheerful tone as a lot of the smooth jazz I’ve had to review. Though I really enjoyed and admired Transition on some level, I couldn’t help but wonder what Weckl could do if he was put into a messier, more spontaneous, and more challenging musical environment.
Dave Wayne, http://www.jazzweekly.com/reviews/weckl.htm
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