Published on Mar 1, 2001
Chicago guitarist Joel Hoekstra obviously has studied the life
and works of Jeff Beck. Like the legendary British guitarist,
Hoekstra (who may be best known as a member of the Cathy Richardson
Band), Hoekstra draws upon a number of influences on his
mostly-instrumental solo debut
Undefined. The main difference between the two is simple:
Hoekstra is able to keep things interesting throughout the entire
album.
Hoekstra draws upon a wide range of influences, from
jazz-influenced writing (hence the comparisons to Beck) to blues
riffing, from all-out funk-based rock to tongue-in-cheek,
undefinable styles. From anyone else, this might be a task that
would be impossible to accomplish. Where Hoekstra succeeds is that
he has the talent to put behind the musical claims – and he brings
along a crack team of musicians to help him out.
Could Hoekstra have pulled off this magic without bassist Ric
Fierabracci and drummer Virgil Donati? Maybe – but it sure wouldn’t
have been the same. Think of what Joe Satriani might have sounded
like without the talents of Stu Hamm providing an anchor on bass
when Satch was making a name for himself. It could have been
accomplished, but it just wouldn’t have been the same. Just as
Hoekstra’s guitar talent is the main focus of
Undefined, the interplay between all three core musicians is
essential to this project’s success.
There’s the key word:
success. It more than adequately fits the bill for this.
Tracks like “Electric Fields,” “Homework,” “Gorilla Man 2000” and
“Kill Swing” come alive with a level of electricity I haven’t heard
on a primarily instrumental album in some time. Admittedly, the
band does bring in several more musicians to share in the magic,
but it never feels like there are too many cooks spoiling this
musical gumbo being created.
Even a track like “Space Cowboy,” which has nothing to do with
Steve Miller’s original version, succeeds – even though it’s meant
to be a form of comic relief to counter-act the serious
musicianship that precceeded it. The carnival barker-style vocals
(which I assume are Hoekstra’s – no credit is given), the
country-on-speed musical style – even the sounds of chickens during
one of the bridges – all make this song succeed on more than the
most visible level.
Richardson even makes a guest appearance as the only credited
vocalist, making her presence known on the closing track “Spank
Me”. Granted, I liked the fact that the music was able to speak for
itself throughout the bulk of this disc. But Richardson does add
something special to this track, and it proves to be a lot of fun –
as well as being the ideal way to bring this project to a
close.
Hoekstra proves on
Undefined that he could well be one of the most underrated
guitarists of this day and age, without relying on flash and speed
to make his voice heard. Each phrase he wrings out of his guitar
speaks volumes for his talents, without ever making his stay feel
too long. Hoekstra is bound to become a major name in the field of
guitar-oriented instrumental music. Let him take his place among
the greats;
Undefined proves he’s earned that right.