The Bad Plus, PROG 2007
shine the most are often through their incredibly unique originals. PROG essentially follows the formula of past albums, providing spirited renditions of Tears for Fears’ “Everybody Wants to Rule the World”, David Bowie’s “Life on Mars”, Rush’s, “Tom Sawyer” and Burt Bacharach’s “This Guy’s in Love with You” but once again the innovation of the non-pastiche work is the best.
Many will know the group from their cover of Nirvana’s “Smells Like Teen Spirit” but those who stuck around to check out the rest of their albums will have found something much deeper going on.
Jazz is presumed dead and maybe it is because it’s certainly not pop anymore but for anyone seriously interested in the style there is something very noteworthy going on in this trio’s albums. The Bad Plus is bringing a rock sensibility into the jazz “genre” and at times PROG throws down harder than any of the top-40 guitar bands. It doesn’t hurt that the three musicians are extremely skilled – Reid Anderson’s bass lines are exceptionally adept at mitigating flurries of piano and drum work as the songs build and fall (on “Giant” the three create a groove deeper than many funk tracks by virtue of one perfectly written stand-up riff).
This facet of the music definitely makes it stand apart. The prog boys will have something to nod their head in off-beat timing to, rock fans will be able to get into the relatively accessible song formats, and jazz-heads can find plenty of exciting new steps into uncharted waters. With this may come the greatest overall success of The Bad Plus’ newest album – a possible revival of contemporary jazz led by musicians unafraid of embracing the genre as a relevant modern expression. PROG definitely has memorable cuts on it, something that may be difficult for jazz virgins to find in other works within the genre. For this alone it deserves to be applauded along with the back catalogue of the group’s albums.
Ultimately, PROG is an album that should at least be checked out by anyone who can appreciate their music without vocal hooks. The sheer flair and excitement that comes through the recordings is infectious and lets one forgive (or even endorse) the tribute tracks strewn throughout.
Reid McCarter
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