Lyle Mays
Street Dreams

That Lyle Mays was a good keyboardist, a great expert in synths, was not in question. Because that's what it is: an extremely skilled and discursive keyboardist (or pianist if you will) who puts himself to the test with a very personal work, naturally produced by Metheny Group Production (Geffen label), just to keep it in the family.

The album features several talented musicians such as bassist Steve Rodby, guitarist Bill Frisell, drummer Peter Erskine, and a very full-bodied string section, which complete the 7 melodies (plus an eighth multiple) of the work.

It's an album that dates back to 1988, Mays' second work as a "leader", a little more prominent than the first work (self-titled, from two years earlier) precisely thanks to the numerous collaborations, probably the less difficult to find.

It is an interesting work, full of playful, captivating, and "television" soundscapes, far from Jazz and fusion and closer to a soundtrack or cartoon sound and mood. A strongly American, urban, and contemporary sound, but without peaks that highlight Mays' compositional ability. I would define most of the pieces as discursive, clean, and electronic: there's a bit of piano in all the pieces but the keyboards are ever-present. The insertion of trumpets and sax in the first track "Feet first" enriches the sound but does not make it an unforgettable moment. More dreamy and acoustic (but sparse) is "August", where Frisell should stand out, but the climax is not reached because the piece does not demand it. Truly entertaining, nice, simple, and 100% structured by Mays, the third track "Chorinho" would fit perfectly as a theme for a cooking show. It gets closer to Jazz in the track "Possible straight" where the trumpet chorus enriches a curious and saloon-like mood. Not bad. But jingle-like. Like the next track "Hangtime", where Frisell returns on guitar, but remains a marginal figure, and the piece never takes off. "Newborn" is quite liturgical, reminiscent of "The bat". The closing track "Street dreams" is very long, full of mysterious and dark inserts, divided into 4 parts with a spatial and electronic flavor. An entire orchestra (Chamber Orchestra) participates in this track, not forgetting Frisell's guitar obsessions and Glen Velez's unsettling submerged percussion and company. There's a bit of everything in this piece: dozens of multi-ethnic influences, African and Central American percussions, electronic voices, and hiccupping demons. The bass is good, evocations of exploring thick and humid undergrowth, it would be perfect in a horror house at Gardaland (I don't want to be offensive). In short, the logical thread escapes (and strongly reminds of the sad experience of "Imaginary day").

In conclusion: pleasant, not unforgettable, well-made for heaven's sake, rich and eclectic, but without peaks. Yet, this curious album took home a nice Grammy in 1988 for the category "best jazz-fusion album". If only one had Lyle's hands!