CHRIS STANDRING, ELECTRIC WONDERLAND


Based in LA, the British guitarist Chris Standring is at the forefront of the jazz chill movement, a smooth jazz sub-genre that Standring has helped define (always successfully) over more then seven solo recordings. Where others try but end up creating watered down hotel lobby music, Standring’s fleet tracks on “Electric Wonderland” (Ultimate Vibe Recordings) consist of smooth groove melodies built on top of synth bass lines with pockets of rhythmic space that the guitarist dips into with funky chords, undulating vamps and improvised solos that stand out for their compact ingenuity. The album picks up the pace from “Blue Bolero,” his previous string-heavy release, with bouncier tunes that integrate retro flourishes like vocoder vocals, phase shifts and thick Fender Rhodes solos along with an acoustic rhythm section and a live-in-the-studio string section. His shimmering originals strike a bright mood (“Oliver’s Twist” has a heavy electro bossa beat that updates Sergio Mendes’ Brasil 66) and over the course of nine tracks, Standring rules as a master of laid-back funkiness. (10 tracks; 44:18 minutes) photo by timsabatino.com

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JAZZ IN SPACE: CHRIS STANDRING, ELECTRIC WONDERLAND

Monday, April 2, 2012

CHRIS STANDRING, ELECTRIC WONDERLAND


Based in LA, the British guitarist Chris Standring is at the forefront of the jazz chill movement, a smooth jazz sub-genre that Standring has helped define (always successfully) over more then seven solo recordings. Where others try but end up creating watered down hotel lobby music, Standring’s fleet tracks on “Electric Wonderland” (Ultimate Vibe Recordings) consist of smooth groove melodies built on top of synth bass lines with pockets of rhythmic space that the guitarist dips into with funky chords, undulating vamps and improvised solos that stand out for their compact ingenuity. The album picks up the pace from “Blue Bolero,” his previous string-heavy release, with bouncier tunes that integrate retro flourishes like vocoder vocals, phase shifts and thick Fender Rhodes solos along with an acoustic rhythm section and a live-in-the-studio string section. His shimmering originals strike a bright mood (“Oliver’s Twist” has a heavy electro bossa beat that updates Sergio Mendes’ Brasil 66) and over the course of nine tracks, Standring rules as a master of laid-back funkiness. (10 tracks; 44:18 minutes) photo by timsabatino.com

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