Nocturne CD Reviews
Southeast
Performer
Not since the eclectic creativity and uniquely innovative style of
Jean-Luc Ponty has there been much good new music using electric violins,
so it's refreshing to hear Ozone Quartet offering something in this vein.
This is thinking man's instrumental work, rich with a fullness that only
comes from seasoned and musically complex musicians (including one who
plays a Chapman Stick), showcasing a melange of musical influences. It
would be unfair to try to pigeonhole this foursome. Their style fluctuates
from world music on songs like "Backbone of Night" (tinged with the southern
Indian flavors of tabla and dumbec) to songs like "Mazeppa" and "Diamond
Eye", which showcases rocking fusion with modern jazz ideals. Songs like
"Moss" and "Dusk Creatures" serve up a more sensual and ethereal side.
Along with flawless production, the Ozone Quartet have the ability to
seamlessly interweave each of their instruments, creating a web of surreal
and swirling melodies and tempos that surround and envelop the listener
fully. Fans of early Pink Floyd and King Crimson - as well as Yes and
Steve Vai - should appreciate this effort, along with connoisseurs of
creative jazz explorations. -NH
Amazon.com
Please do yourself a favor and seek out this disc. It's well worth your
time. Four musicians have come together to provide us with a body of work
that deserves to be 'actively listened' to. At times dark, at times driven,
and at times utterly beatiful, Nocturne is the second release by Ozone
Quartet. Fresh Blood, their first disc set a new standard in instrumental
quartet work. This new effort built upon that substantially. It sounds
like nothing you've heard before. Get it. -GM
Sea of Tranquility
With the addition of new guitarist Kenny Thompson, North Carolina
prog/fusion band Ozone Quartet have tightened and matured their sound,
thus creating a classic in Nocturne. Picking up where the now-disbanded
Boud Deun left off, Ozone Quartet combines the musical virtuosity of The
Mahavishnu Orchestra and The Dixie Dregs with the sheer power and raw
intensity of "Red" era King Crimson. Nocturne is a fantastic example of
tight, intelligent, ensemble prog at its best! The
opening track, "The Watcher," sets the mood with Hollis Brown's wonderful,
soaring violin playing. She has a flair for melody that is quite different
from most modern day violinists who opt for more rapid fire flurries of
notes, which she can do at times as well. When she trades melodic solos
with guitarist Thompson, it is a real treat for the ears and reminiscent
of the days of Ponty and McLaughlin. "Mutoid Man" is a classic example
of King Crimson inspired musical mayhem, complete with heavy, snarling
guitar riffs and pounding rhythm courtesy of Francis Dyer on Drums and
Wayne Leechford on stick. Throughout,
these two never fail to impress, as mighty as a dream combination of Billy
Cobham and Tony Levin. On "Mazeppa" both musicians lay an irresistible
groove while Thompson blows killer electric guitar excursions augmented
by Brown's majestic violin. It's as if each player is somehow connected
mentally the way they play off each other. For more Crimson crunch, look
into the "Diamond Eye" which features an explosive guitar solo from Thompson.
He is quite a revelation and quite an improvement over "G-Man" who played
on the debut CD Fresh Blood. Thompson is equally adept at acrobatic
electric guitar solos in the Eric Johnson or Steve Morse vein, as well
as light, gentle acoustic picking. For a great example of the latter,
check out the meditative "The Real Thing," which could have been a lost
track from Mahavishnu's Inner Mounting Flame. All
twelve songs are highly infectious, complete with killer grooves and solo
spots. The great thing is that this is not just a CD full of endless guitar
and violin freakouts. All tunes are tight and memorable, and more often
than not the ensemble work is equally as impressive as the solos. Here's
hoping that Ozone Quartet sticks around for quite a while making great
music like this. -PP
Independent
Weekly
Even if Ozone Quartet wasn't an exceptionally talented band of musicians,
they'd deserve props for two things: playing a style of music that has
a very small underground audience (progressive rock) and having enough
of a sense of their personal style to chuck prog-rock conventions when
they need to. Although progressive rock grew out of a need for experimentation,
the vast majority of neo-prog bands this reviewer has heard have been
grossly derivative (although exceptionally technically adept) and almost
afraid to take steps on their own. And while the prog community does seem
to be growing - make a pilgrimage to Storybook Farm's annual ProgDay festival
for proof - it's still relatively minute. Devoting yourself to it is really
a labor of love. Ozone Quartet, an instrumental Raleigh quartet consisting
of electric violin (by former blackgirls member Hollis Brown),
electric guitar, Chapman Stick and a host of percussive instruments, can
on occasion be guilty of sounding like King Crimson lite. But by and large,
the band members distinguish themselves well, with trancey, Middle Eastern
melodies, a funky (but not overly showy) rhythm section and slithering
violin work that makes a fine aural focal point for the music. The group
heads straight into noirish urban jazz with "Dusk Creatures" and Arabic
folk on "Backbone of Night." In fact, many of the compositions on Nocturne
defy labels of any sort, prog or otherwise. Which is really what the term
progressive is supposed to be about in the first place. -KM
All
About Jazz
Jack in, tune up, and get yourself lost in smokin’ fusion
ecstasy. Here’s jazz rock violin comin’ at you in electrified,
preorgasmic shudders, Chapman Stick in exotic overdrive mode, kickin’drums
sounding like ‘70's era, Billy Cobham and guitars in that Ray Gomez
fusiony-rock, blues whirl and punch. This is tight but loose, serious
yet fun, noir-inspired grooves that no one else but the Ozone Quartet
can deliver. This approaches world fusion with funky backbeat yet Middle
Eastern flair, and at times you may want to dance. The soul of the mad
dervish dancer weaves among the swaying shadows of hypnotic percussion.
This is a music of enchantment, a tapestry of colors and hues of sound
woven intricately by fingers charged with the need to break the boundaried
curse of the mundane -- reaching for the hidden chords, the occultic strains
of notes, drifting up from long lost kingdoms of forgotten peoples. This
is an unusual mix of complex rhythms, fiddle flourishes, Stick magic,
and guitar pleasures. If you like rock in your fusion, they satisfy. If
you prefer more jazzy violin leaning in that soulful Urbaniak, mellow
Goodman, or Tesseract mode -- it is here. If you need a bit of that world
percussive, tribal thing with a bit of funked groove too, you’ll
find it. But most of all if you need something a bit different in your
fusion that both soothes and excites, Ozone Quartet can cover a wide range
of territory. A certain passion to deliver their best comes through. Listen
for all the things you like about fusion and I guarantee you won’t
come away unimpressed nor unmoved by this second release from the OQ gang.
Strongly recommended. -JP
Feedback (UK)
This is the second album by all instrumental outfit Ozone Quartet
(and amazingly enough the third violin dominated album I have reviewed
this issue). However, although OQ do have this in common with the others,
their sound is totally unique. This is a progressive band that are determined
to produce music that is challenging and complex, bringing in comparisons
with bands as diverse as The Nice, ELP, King Crimson, Dixie Dregs and
VDGG. While the violin playing of Hollis Brown provides much of the "vocals"
for the music, the whole band provide lead roles, swapping between styles
and nuances. Francis Dyer utilizes a wide variety of percussive instruments,
as well as standard drums, and Wayne Leechford provides an extra edge
by being a master of the Chapman Stick instead of a normal bass. The lineup
is completed with guitarist Kenny Thompson who can be restrained, jazzy,
or out and out rock as the music requires. This
is not an easy album to listen to, in the sense that there is a lot going
on and I found it necessary to pay close attention to get the most out
of it. For those who want to get a lot out of their music, instead of
a quick fix, then this of great interest. -KR
Progression
Ozone Quartet's second album, Nocturne, is a vibrant and
addictive bit of prog-rock/fusion, driven by Hollis Brown's inventive
violin work. It's no surprise that Brown comes from a diverse musical
background-her talents have graced everything from bluegrass to chamber
music. Her riffery on Nocturne is the glue that holds this band
together. The moods explored range from funk ("Flood") to driving rock
("The Getaway") to "Discipline"-esque layering ("Mazeppa"). We all shed
a tear when Boud Deun called it quits last year. The Ozone Quartet, though,
admirably fills that substantial prog-fusion void -JB
Dutch
Progressive Rock Page (Holland)
The four musicians in
Ozone Quartet make use of a rather unusual cabinet of instruments. Kenny
Thompson is the most traditional in this respect, playing "just" acoustic
and electric guitars. But percussionist Francis Dyer produces sounds with
a multitude of devices including but not limited to wind chimes, vibraphone,
water, glockenspiel and several more obscure items like tabla, dumbek
and guiro. Wayne Leechford plays the Chapman Stick, made famous by Tony
Levin and last but not least Hollis Brown completes the quartet on electric
violin. Not many bands
count a violin among their equipment, much less an electric one. As far
as my (arguably limited) knowledge extends, there's only one other musician
who made extensive use of an electric violin on a rock record and that's
Eddie Jobson on UK's second and, sadly, last album Danger Money. So is
Nocturne anything like UK? Not at all! I'm more inclined to compare them
to one of the Big Five of the seventies, King Crimson. The 1973-1974 incarnation
of that "presence somewhere above and to the left of Robert Fripp's head"
counted among its members one David Cross, who was probably one of the
first to introduce a violin in rock music. But there's more to Ozone Quartet.
For one thing, Brown's role in Ozone Quartet is much more important than
Cross' in King Crimson ever was. The violin carries most of the melodies,
based on the solid foundation of the other three. Kenny Thompson can be
heard soloing only occasionally throughout the album. Also, the sound
is jazzier, and has an improvisational feel to it now and then, a feeling,
which is strengthened by the fact that all twelve songs on the album are
instrumentals. There's hardly any use of keyboards, except for some samples,
as in the intro to the second track, Mutoid Man (Schizoid Man?!). So for
whom is this album intended? For those who like a jazzier version of a
more compact Red-era King Crimson with a greater role for violin. -DvM
Downtown
Music Gallery
What we have here is yet another fine prog-fusion unit from down
south (North Carolina) and this is also their second CD. Ozone Quartet
feature Hollis Brown on el. violin, Kenny Thompson on guitars, Wayne Leechford
on Stick and Francis Dyer on percussion and remind me of another great,
fusion quartet from the south called Boud Deun. These pieces are also
tight, well-written works in which both the violin & guitar, as well as
the rhythm section constantly play together locked in place. The Ozone
Quartet & Boud Deun both take off from where the Mahavishnu Orchestra
left off some 25 years ago, without the excess baggage (of funk, speed
& commercial influences) that fusion became soon thereafter. So good to
hear tabla and stick on this fine work, two instruments I love and can
never hear enough of. Even electric violin is becoming a lost art - it
certainly has its own sound, and fits so well with the equally inventive
el. & acoustic guitars. By "Diamond Eye" which is about halfway, the Ozone
Quartet wander through Mahavishnu-land, with some whiplash speed sections,
just for a short jolt of recognition. An adventurous bunch, who stay on
their toes throughout.-DMR
Musicomet
The Triangle area's instrumental ensemble Ozone Quartet features members
of Cloud Nine and the long lost blackgirls. The unusual combo of electric
violin, Chapman Stick, guitars and percussion give this disc an aural
feeling that whispers Mahavishnu Orchestra as well as Dixie Dregs mixed
with experimentation and improvisation. I might even venture forth and
offer them as a sorta ballsy prog-new age outfit. -JS
House
of Shred
Fans of King Crimson unite! There is another fusion ensemble available
for your listening pleasure, and they hail from North Carolina. This is
a very tasteful, mature CD. Consisting of a violin, Chapman Stick, guitar
and drums, The Ozone Quartet manufacture deeply intricate melodies and
provocative soloing. While Nocturne is definitely not a "shred" CD, fans
of great guitar work will NOT be disappointed. The guitar soloing is well
thought out and nicely executed. Its also very clean, which is a virtue,
and not a hassle (for all you young shred fans out there). I'm actually
going to see the Ozone gang live soon. I will report back to you after
the show. The CD sounds like these guys need to be heard live. I'm anticipating
some intense "on the spot" jamming. So, like I said, if you're a fan of
King Crimson, UK, Jean Luc Ponty and even some Frank Zappa, I guarantee
you'll love this stuff. Pick of the Lot: "Backbone Of Night". -T
Music
News Network
It is always a pleasure to hear from Ozone Quartet and their new
release, Nocturne, is now available of Flat Five Records. These
guys are amazing talents and it's apparent in their playing, songwriting
and producing. Ozone Quartet maintain a delicate balance within their
music by seeing that everyone shares the spotlight and no one's instrument
is lost in the mix. Many
of the tracks on Nocturne have a strong jazz feel. "Flood" is an
upbeat track with a heavier midsection, while "Diamond Eye" features drummer
Francis Dyer who not only kicks off the piece but makes his presence known
throughout with an intricate rhythm. Lastly "Broquen" starts out on a
heavier note and is somewhat of a jazz, blues cut. Listening to Ozone
Quartet, you'll hear traces of the band's King Crimson influence. The
track "Mazeppa" features Wayne Leechford playing some hypnotic riffs on
his Chapman Stick. The song "Circus After Hours" is also somewhat Crimsonesque.
Violinist Hollis Brown is an exceptional player and evokes heart felt
emotion in "The Watcher" while "Backbone of Night" is a mid-eastern sounding,
percussive piece that showcases the talents of guitarist Kenny Thompson.
Thompson and Brown seem to feed off each other when they play. Both complementing
the melody, Thompson playing the lower guitar register while Brown takes
the higher with her violin. "The Getaway" is a great example of these
two working together. These guys do know how to groove and it's evident
in the songs "Mutoid Man" and "Dusk Creatures." And they know how to soothe
the soul with some lovely ballads: "The Real Thing" and "Moss." -CH
Tossing and Turning
Ozone Quartet was the band of the week, with 5 cuts off of their new
CD, Nocturne. It's all instrumental fusion with electric violin, guitar,
Chapman Stick, and percussion. I'd recommend it to fans of Mahavishnu
Orchestra, Dixie Dregs, and King Crimson. Heck, everyone else, too. A
lot of time changes, nifty rhythms, and great violin leads. Guitar is
often quite crafty, and sometimes somewhat grungy, which makes for an
interesting sound. Violin is the main lead instrument more often than
not. Although I'm not always in the mood for fusion, when I am I like
this album a lot. Fairly melodic, which pleases me, and with a lot of
complexity to the music as well. There's one rather funky track that could've
used a little more development, but aside from that most of the pieces
(in the 4-5 minute range) develop well. Good stuff. -NL
Aural
Innovations
Ozone Quartet is yet another of North Carolina's fiery instrumental
ensemble's. My introduction to this band was at the Progscape festival
in 1995 when they opened the show in their previous incarnation as Cloud
Nine. Then and on the Ozone debut CD I described the music as instrumental
fusion that crosses Mahavishnu Orchestra and The Dregs with the heaviness
of mid-period King Crimson. And when I reviewed their CD "Fresh Blood"
I noted that the addition of a new guitarist gave the band a much heavier
sound. Well looking at their web page it turns out that original guitarist
Graham Fry was still present on that album, but on "Nocturne" they really
recruited a new axeman, one Kenny Thompson who joins Hollis Brown on electric
violin, Wayne Leechford on Chapman Stick, and Francis Dyer on drums and
percussion. Throughout
Nocturne's 12 tracks Hollis' violin trips the light cosmiche while Leechford
keeps a steady flowing stick beat. Thompson's guitar at times has an aggressive
"Red"-era King Crimson edge but when soloing usually has a cleaner more
fusion-like sound. When the quartet cranks and the four musicians are
blazing along the intensity level is well outside the ozone layer. -JK
Fuse
Magazine
The Ozone Quartet is a progressive rock band with a unique sound
due to its compositions and in part to its lineup; Stick, guitar, electric
violin, drums and percussion (tabla, djembe, dumbek etc.). The band brings
to mind the Mahavishnu Orchestra and King Crimson ("Diamond Eye"), among
others, but has a broad musical palette ("Backbone of the Night", for
example, is an interesting Middle-Eastern inspired piece and they even
swing a bit on "Diamond Eye") that serves them well. -DD
Zoltan's Progressive
Rock Page
Nocturne is the second album by North Carolina's Ozone Quartet.
The band's instrumental music features atmospheric, and playful, interplay
between Chapman Stick, Violin, and Guitar. These guys tend to be compared
to Boud Deun quite a lot, but the music here never gets that complex.
The strongest influence seems to be Tony Levin-era King Crimson, if you
can imagine that they also had a violin player at the time. Yet Ozone
Quartet's guitarist doesn't seem influenced by Robert Fripp. One noticeable
difference on this album compared to the first album is the inclusion
of vintage-sounding keyboards on some of the tracks. These include Moog-like
bubbling, and Hammond B3 chords. Nothing dramatically different, yet fans
of the first album will take notice. Some of my favorite tracks include
"Backbone Of Night" which features Middle-Eastern percussion, and scales.
And "Diamond Eye" which has a section featuring some quick flurries of
notes from the Chapman Stick. -SH
Delire Musical (Canada)
Ozone Quartet is Wayne Leechford (Chapman Stick), Francis Dyer (drums,
percussion), Hollis Brown (electric violin) and Kenny Thompson (acoustic
and electric guitars). Based in North Carolina, USA, this band released
a first CD, Fresh Blood in 1997. Nocturne is their second record and was
recently released on Flat Five Records, Inc., the band's own label. Ozone
Quartet's sound has considerably matured. Nocturne features high-quality
writing, on-the-spot solos and great studio work that were only hinted
on Fresh Blood. The King Crimson influence, predominant on the first record,
is a lot more subtle here, as if better integrated. One influence, not
THE influence. There is no more THE influence. There is only Ozone Quartet.
Like I said, they have achieved maturity. The album starts with "The Watcher"
and its languish violin melody that seduces the listener, a notable change
from the in-your-face attitude of Fresh Blood. But don't worry, the guys
have not gone soft and "Mutoid Man" takes back where the previous CD had
left. Ozone Quartet's musical universe still has some similarities with
King Crimson, if only in the stick / violin / guitar / drums instrumentation.
But the comparison ends here. Aqua's music is a lot more jazzier. This
is "fusion", inspired jazz-rock. The tracks are short, between four and
six minutes, which gives them more punch. The presence of African percussion
like the djembe brings in a tribal shade to the band's polyrhythmic patterns.
Nocturne is one the most important records in fusion this year. If you
like stick, electric violin or simply great fusion played without the
flashy technique usually associated with the genre, you must hear Ozone
Quartet. This is fusion where the emotion and the writing are given the
hot seat. -FC
Music
Street Journal
I'd been looking forward to another Ozone Quartet album since
hearing their first, Fresh Blood, last March. With that album, I'd found
a band whose sound embodied many of the odd time signatures, and eclectic
influences of progressive rock married with fluid freeform jazz. With
their second full length release, Nocturne, I found many of the elements
which attracted me to their music, and a little bit more. Their music
had taken a funky groove in some places and an ethnic flavor in others.
The disc also shows a new subtlety and refinement to the arrangement and
selection of songs. Nocturne is a subtle feast of eclectic sounds; it
makes the listener take the time to savor the multilayered nuances of
each instrument. Overall this is a CD that one can't get tired of listening
to- something new is heard and learned with repeated playing. If you're
merely looking for a generic lovemaking soundtrack, you may be wasting
your time and the music is likely to be lost on you. This is muse music
by which that alpha state is reached, and creative neurons are sparked.
It is music that is evocative and emotional as well as technically accomplished.
If you are a fan of instrumental prog-jazz-funk fusion with an ethnic
flavor featuring violin and Chapman Stick, this release belongs in your
collection. -VL
Eufonia
(Mexico/Spanish)
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