When I first saw Edo Castro’s album ‘Phoenix’, two things about it set me on guard immediately: first, the image of a 9-string bass on the cover (I mean, who on earth needs these things?) and second, the inclusion of that awful and omnipresent tune, ‘Amazing Grace’. Well, that was then. ‘Phoenix’ is a near-completely beautiful, exquisitely crafted album. Castro is much more concerned with mood and texture, not to mention melody, than with extroverted, chops-flashing bravado. Case in point: who would even think of covering Ralph Towner’s breathtaking composition ‘Beneath an Evening Sky’? Castro does it full justice, with the elegant fretless melody set against a chordal backdrop, rendering the complex time signature of the piece almost unnoticeable. ‘Bone Dreams’ adds pedal steel guitar (Rob Powell) and tabla (Debropriyo Sarkar) for texture, and ‘Song for the Electric Whales’ is a moving (and sonically accurate!) tribute to these magnificent creatures. The blues-based ‘Blue Asia’ features like-minded Mark Egan on fretless 8-string bass, apart from Castro himself. ‘Chance of Rain’ reprises the ambience of the second selection, and the title track is the only real ensemble piece here: it contains few surprises but is a pleasant track nonetheless. The Native American flutes of Blue constitute the featured instrument on two evocative tracks (indeed, the sole instrument on the 9-minute-plus ‘… Part 2’; how is that for unselfishness on the part of the bassist?), and ‘Rise’ is the Methenyesque album closer, with Castro on nimble fretless. So, what about ‘Amazing Grace’, then? It begins promisingly, with Castro reharmonising this trite tune. But then the voices come in, and everything goes downhill from here. To me (as someone with a profoundly atheistic worldview), the lyrics have always been simple-minded, and while Castro’s changes here should be noted, the vocal acrobatics further propel this piece into the abyss of the eminently skippable, unconnected as it is from the rest of the CD. However, this is the only blemish on an album that is otherwise a veritable gem.

Excellent stuff. Highly recommended.

They don’t call it mood music for nothing. Whether my mood is upbeat or downbeat, serious or playful, extroverted or introverted, there are musical choices aplenty to complement, enhance or counteract it. Edo Castro -- in addition to playing one of the coolest-looking instruments ever built, a fretless eight-string bass – on his sophomore solo release Phoenix delivers what I can only describe as mood music. It has flavorings of instrumental jazz, world music and New Age, but, perhaps surprisingly for someone whose primary instrument is generally thought of as a rhythm anchor, the emphasis is on sonic textures rather than beats or structures. Early tracks “Beneath An Evening Sky,” “Bone Dreams” and “Song Of The Electric Whales” have a contemplative, unrushed, elegant feel, becoming almost hypnotic in places. The synth textures, percussion and Debopriyo Sarkar’s tabla on “Bone Dreams” are especially evocative. “Blue Asia” has greater structure, lending it more of straight jazz feel, but it could hardly be called mainstream when it’s built around a duet between two bass players, Castro and guest Mark Egan. This tasty cut also features intricate percussion work from Paul Van Wageningen and Ian Dogole, as well as production crisp enough to remind of Steely Dan. “Chance Of Rain” and “The Gift Of Blue (Parts 1 & 2)” carry forward the earlier contemplative mood and pace, though “Chance” has a particularly steady-thrumming bass line that adds firmness and tension. In between, the title track returns to straight jazz, with a stuttering rhythm section underpinning some terrific sax work from George Brooks, complemented nicely by Lorn Leber’s electric guitar and Tommy Kesecker’s vibes. Castro is a San Francisco Bay Area musician who has played with numerous local luminaries, including Jill Knight. Phoenix is his second solo outing and a great pickup if you’re either in a mellow mood or looking to instill one. While this is music you could work or play to, it’s most suited to simple contemplation, and isn’t that something we could all use a little more of in our lives?

They don’t call it mood music for nothing. Whether my mood is upbeat or downbeat, serious or playful, extroverted or introverted, there are musical choices aplenty to complement, enhance or counteract it. Edo Castro -- in addition to playing one of the coolest-looking instruments ever built, a fretless eight-string bass – on his sophomore solo release Phoenix delivers what I can only describe as mood music. It has flavorings of instrumental jazz, world music and New Age, but, perhaps surprisingly for someone whose primary instrument is generally thought of as a rhythm anchor, the emphasis is on sonic textures rather than beats or structures. Early tracks “Beneath An Evening Sky,” “Bone Dreams” and “Song Of The Electric Whales” have a contemplative, unrushed, elegant feel, becoming almost hypnotic in places. The synth textures, percussion and Debopriyo Sarkar’s tabla on “Bone Dreams” are especially evocative. “Blue Asia” has greater structure, lending it more of straight jazz feel, but it could hardly be called mainstream when it’s built around a duet between two bass players, Castro and guest Mark Egan. This tasty cut also features intricate percussion work from Paul Van Wageningen and Ian Dogole, as well as production crisp enough to remind of Steely Dan. “Chance Of Rain” and “The Gift Of Blue (Parts 1 & 2)” carry forward the earlier contemplative mood and pace, though “Chance” has a particularly steady-thrumming bass line that adds firmness and tension. In between, the title track returns to straight jazz, with a stuttering rhythm section underpinning some terrific sax work from George Brooks, complemented nicely by Lorn Leber’s electric guitar and Tommy Kesecker’s vibes. Castro is a San Francisco Bay Area musician who has played with numerous local luminaries, including Jill Knight. Phoenix is his second solo outing and a great pickup if you’re either in a mellow mood or looking to instill one. While this is music you could work or play to, it’s most suited to simple contemplation, and isn’t that something we could all use a little more of in our lives?