Published on Aug 27, 1998
Quick: define jazz.
Nope, sorry… whatever you answered, it’s probably only
partially correct. With all the different flavors that jazz can
have, the only certainty about this genre is that there are no hard
rules nor solid definitions of what it is.
Once you understand this, it makes the latest release from The
Grassy Knoll,
III, easier to understand. At times ambient noise, at times
sounding like industrial jazz, at times sounding like a rock band,
The Grassy Knoll break all the rules that you might know about
music and make things interesting – that is, once you get used to
its bizarre, unique flavor.
Whatever you do, don’t base your entire opinion of this
collective of musicians on the opening minute of “A Beaten Dog
Beneath The Hail”. Admittedly, it is tough to get through, but it
does conjure up the image suggested by the song’s title. Once you
get through the weirdness, however – and it only lasts about 52
seconds – the song shifts into the pleasantly strange amalgam The
Grassy Knoll plays. Under the guide of multi-instrumentalist Bob
Green (who handles all the bass and most of the guitar work),
III begins to take shape, though its final molded appearance
is anyone’s guess.
Sonic Youth guitarist Thurston Moore, one of the pioneers of
ambient music, makes a guest appearance on three tracks, but the
band itself is so tight in its looseness that if you didn’t have
the album credits in front of you, you’d never know it was him.
The jazz influences come into play on songs like “Blue Wires,”
which not only keep the sense of musical weirdness about them but
also create some grooving rhythms that you’ll have to fight against
tapping your foot to. Lord help us, they even dare to get a little
funky on “Paul Has An Emotional Uncle” – who woulda thunk it?
Often, when listening to the controlled madness of
III, I found myself comparing it to some of Frank Zappa’s
more ambitious work. Like Zappa, some of the efforts are great
successes, while others are great annoying failures. In the end,
The Grassy Knoll seems to be trying too hard, and the formula tends
to weaken as the album progresses on. I guess under different
circumstances, tracks like “Thunder Ain’t Rain” and “III” would be
better, but not after I’ve been hit over the head with the same
concepts throughout the whole album.
The biggest obstacle that you will face listening to
III is getting used to their sound, which switches from
unlistenable and weird to groovy and weird. If you’re not used to
such eclecticism in music, you’re sure to fling down your
headphones and run for the exits. However, if you give the album
enough time, and you give yourself enough time to get into the
unique rhythms that are being laid out in front of you, then you
should find yourself past the most difficult part of the journey
after one listen.
Ah, but there’s the rub.
III is not an album you are going to understand with just
one listen. Instead, it challenges you to continue listening to it
in order to develop your own appreciation of the music. Maybe
you’ll come to enjoy their use of samples; maybe it will be
admiration for the saxophone work; maybe it will be astonishment
over the constant blending of genres in the music. Whatever the
case, most likely your reaction after one listen would be, “What
the hell was that?”
Unfortunately for The Grassy Knoll, interest in ambient jazz is
not like Hanson releasing a new album; it’s not going to reach a
high saturation point in the market. Pity, for while
III is an album that is at times brilliant and other times
frustrating, it is an experience that is worth taking repeatedly.
Here’s hoping someone gives them a chance; even if they open up the
ears of a few new listeners, the album will have been worth
everyone’s time and money.