BD Lenz – Straight Up
When building the honor roll of lesser knowns, BD Lenz quickly scores his spot at the top of the short list. As the specs will show, he is one talented shredder. Everything he produces is cross-cut with razor-sharp finesse. Complimenting an assortment of well-written compositions, his musicianship lays down very nicely at the bottom of the basket. Others models seem to be more like blenders or weed eaters in comparison -- as their clippings are closer to jagged mulch when judged against his crop. With every swing of his spinning axe, he creates the tidiest output, and this smokin’ pile of bits is no different.
Let’s see how his latest performs by slicing and dicing through his latest feature set:
UH-HUH – I concur with this track’s label. Like a jack-in-the-box, this song springs out as soon as the lid’s unlatched. That agreeable verse will be ever-present in your head, and if you had to vocalize it; you’d sound a lot like that wisecracker from Home Improvement. But to be serious, the guitars, keys and drums, represent some of the best jazz fusion around. He hasn’t even gone around the corner and he’s already bested himself. With most albums, you can tell right away if the artist has invested himself in the project: So far so good here.
STRAIGHT UP - Whereas the previous track was upbeat, this is smoother than a baby’s cheek. I pinky swear that this piggy goes to market and I’m sure if asked; Honest Abe would acquiesce. I really dig this song due to the way it builds. Early on, Lenz goes two-for-two without a tunnel in sight.
I TAKE REFUGE IN U – This is what I’d expect to hear in heaven. My only complaint is that it comes in third place. If it were my choice, I would have stuck this on cloud nine. Speaking of which, the guitar solo towards the end is a ray of hope; sending a series of joyous schisms through whatever sad miasma is burdening its current listener.
JOE CITIZEN – This isn’t your average Good Samaritan. Joey’s closest friends will vouch for the fact that this has panache -- even if it’s a bit simple. While this doesn’t score very high on standardized tests, the proctor still finds its fare to be clever and artistic. That alone should earn it partial credit and a passing grade.
LOVE, AS A FLOWER BLOSSOMS – When I listen to this; I wonder: Where is Billy Joel’s voice? I don’t know what it is, but it’s hard to resist this ballad. While my schedule won’t allow this to stay on repeat for the longest time, I’ll take it just the way it is. [Incidentally, it was necessary to end on a preposition here.]
3 + 5 = BLUE – Not sure how this mathematical trick works but it certainly represents syncopated funk and affluent blues. That would be the place to take your date once the relationship has fully bloomed. Sans the posturing and puffery that plays out on the piano, it has the noblest intent and swoons with much charm.
BRIDGES – Karl Latham fills in on drums and plays quite a round; however, it’s Joe Ashlar who is the big-money-maker. Later on, Dave Edwards’ upright bass crashes the party. Eventually, he is invited to the table for a high stakes game. With only good hands showing, the pool is thoroughly chummed. Following suit, each of these sharks goes all in. Once this flushes out, the gamble’s upshot is a push. While nobody playing loses, we win since we skim from the top of this highly-organized one-off team.
QUIET DESPERATION – This song has an epic vibe about it. It’s synthetic and detached but has a human heart pumping in its chest. I guess it’s true that androids dream of electric sheep.
HERE AND NOW – While the other ones were sanded down, this multi-grain
course is quite uncouth. That’s not to say it’s bad delicatessen. If you like
your cuts rare – or even raw for that matter – they might be serving your kind
of luncheon here. These paper-thin slices come with
IT’S THE WAY OF THE WORLD – Whether corporate policy or a strongly suggested code, most workers deal with the weight of the world on their own terms. As if falling on hard times, passion and angst can be heard in the guitar. The percussion, on the other hand, is loyal and cathartic. Its stability proves to be a genuine friend in times of trouble. At the end of the day, it’s all about whom you choose to have in your entourage. For its reliability and prudence, I pick this one to be assistant to the regional manager.
US AND THEM – Latham & Edwards return but this time they bring the sax of Geoff Mattoon. With the extra hardware, they perform a wistful remake of a key piece from Pink Floyd’s Dark Side of the Moon. If you don’t recognize it, that’s fine; but then you’re membership to Club Prog has been revoked. To put it to you mildly, that’s effective immediately and indefinitely. In any case, the transitions between the mood swings are immense. Come to think of it; this version sounds a lot like the aural landscapes behind Jack Handey’s Deep Thoughts. At least they gave us something to ponder on long after it’s defunct. They didn’t have to as I plan to replay this resurrected track many times for myself and my pals.
On the whole, this guitarist goes with the flow and refuses to swim upstream. From start to finish, it’s smooth sailing all the way and makes for a nice, healthy break in the day. Likewise, it could also serve a cozy purpose but by no means is this meant to be used solely as background music. It necessitates intimacy and a close shave. With fluent licks like these, I’d risk – practically without a dot of dithering - a paper cut to the ears.
8.75/10 [I have to admit that my impression from the last track compelled a hanging chad to fall, which resulted in a slightly higher overall score.]
Line-up:
BD Lenz – Electric & acoustic guitars
Joe Ashlar – Piano & keys
James Rosocha – Electric Bass
Tom Cottone – Drums