Though not as flashy as his peers,
Doors
' guitarist
Robby Krieger
belongs on the all-time-best list as both stylist and innovator.
Krieger
developed a unique approach to fit the organ-drums-guitar lineup behind singer
Jim Morrison
. A jazz fan from high school, he had seen
Miles Davis
,
Rahsaan Roland Kirk
Wes Montgomery
, and more at
Shelly Manne
's Hole, absorbing what he could.
's complex harmonic and rhythmic style employed jazz as a core part of his playing and composing aesthetic. (He wrote the hits "Light My Fire," "Touch Me," and "Love Me Two Times.")
's solo discography is diverse, ranging from jazz, flamenco, and Near Eastern and modal music to blues, rock, and funk.
The Ritual Begins at Sundown
, his first recording in a decade, embraces
Frank Zappa
as its primary muse. In addition to a 21st century cover of
Zappa
's "Chunga's Revenge,"
employs several of the late musician's sidemen including producer/bassist
Arthur Barrow
, trombonist
Jock Ellis
, trumpeter
Sal Marquez
(who also played on
's
Blue Note
solo debut in 1977), keyboardist
Tommy Mars
, and drummer
Chad Wackerman
. They share space with an illustrious cast of studio aces: Flutist
Adrienne "Aeb" Byrne
, saxophonists
Vince Denham
and
Chuck Manning
Joel Taylor
.
Opener "What Was That" lays down a horn-driven jazz-funk groove with gorgeous electric piano and bass syncopations.
moves on top with an array of bluesy single notes and chord voicings. "Slide Home," introduced by
Byrne
's lilting flute, is a gloriously understated cinematic theme for slide guitar.
's reliance on melodic improvisation frames a deceptively complex compositional approach. The band embraces "Chunga's Revenge" with reverence and a sense of adventure. The opening drum kit shuffle encounters a moody bassline, while vamping horns frame explosive organ and guitar work that unfolds in a labyrinth over nearly six minutes. While
doesn't attempt to copy
's guitar lines, he does approximate his signature tone as he winds out a compelling solo amid the group's kinetic interplay. The fingerpopping "Hot Head" melds funk and post-bop with lovely soloing from
Mars
. "Yes the River Knows" appeared on
the Doors
'
Waiting for the Sun
. Its drama includes weaving a grand piano through serpentine guitar chromatics that erupt atop sweeping drums, horns, and bass into one of the record's finest solos. "The Hitch" is uncharacteristically raw, overdriven, rockist jazz-funk.
turns the vamped groove up to stun in the raucous interplay. The swaggering nocturnal intensity in "Bianca's Dream" is fueled by the vamp lifted from
's "Cosmic Debris." It serves to frame -- and barely keep in check -- the knotty, intricate, ensemble interactions that careen through razor-sharp funk, post-bop and hard rock.
pays affectionate tribute to
's influence and spirit, but this music is also filtered through an idiosyncratic vision that balances complexity and technique with fun, the will to creativity, and an incessant urge to dance. ~ Thom Jurek