featured REVIEW

75



Thaione Davis Burgundy Jericho Lounge • 2007

The multi-instrumental production talent that Thaione possses and applicates so accurately, is well reflected through this effort. With the use of African chants, djembe, harmonica ('Other Side Of The Tracks'), Indian harp ('The Great Divide'), steel drums ('Yard Music'), xylophones ('Lady In The Chorus'), Thaione Davis again delivers his trademark productions, reconstructing an array of feelings and generating a variety of moods. Fully (except three songs) instrumental, this album shows this Chicageon’s real talent behind the boards.

With an urge to constantly re-invent himself, Thaione’s work never bores or sounds the same. Not only an aesthetic must but also an educational trip, with recurrent references to a history of slavery and suppression, this album is clearly above the average standard that most instrumental albums tend to carry. Featuring poems (by Alex Haley in 'The Griot'), and referential titles ('1857 The Weeping Time' clearly refers to the Dred Scott vs Sanford case), make us google for more info and give us an insight on black history (told by a black man).

Furthermore Davis experiments with up-tempo minimal house in 'Zaire’s Torment' and broken electro in 'Woza Moya'. The three songs with MC’s, mostly talking about girls and all that, were unnecessary, they cut the album’s soothing pace and don’t fit on an album like this, but let that be our only small point of critique because this record might turn out to be thé ideal anthem to our Burgundy lifestyle (being from Flanders and all that) this summer.


POSTED ON 06|26|2007 by cpf

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