15 years into her career, Monday is getting better and bette
J. Lund | SoCal, USA | 04/02/2006
(5 out of 5 stars)
"It's great to say that, fifteen years after her first album, Monday Michiru is still growing and capable of raising her own bar with each new album release. Although this listing at amazon.com is the Japanese import version (with one bonus track), the album is actually her first -- after all of these years -- to have been released in the USA (independently via Artists Share, see mondaymichiru.com for details). Hopefully ROUTES will provide wider exposure for an artist who is a must-hear for anyone looking for a fresh, sophisticated hybrid of soul, funk, r&b, jazz, and pop.
What strikes me about ROUTES is that stylistically the pendulum has in a sense swung back to the side where the nu-soul-r&b-funk-club elements are once again the centerpiece of her musical approach. Sort of like taking two steps backward to get much>2 steps forward? Recent albums had emphasized a relatively acoustic live-in-the-studio jazz-based approach, but ROUTES is marked by more pop culture production elements (albeit used in a typically fresh and creative manner). For one, the keyboards are employed more in a style one would expect of nu-soul-r&b-jazz artists than straight-ahead jazz (or to the other extreme, electronica-trance-techno, etc.). However one labels it, the results sound more nu-school than old-school.
Even so, the music on ROUTES generally also reflects Monday's recent jazz-leaning projects. In and around the electronics are some acoustic instruments (piano, bass, drums), as well as world-beat percussion at times. And there are a few bona-fide jazz-based instrumental solos, several by her husband Alex Sipiagin on trumpet. I love how Monday continues to allow the soloists time to make a statement, rather than merely being short breaks in-between her vocals. Maybe one wouldn't characterize her music as "file under: Jazz," but there's enough jazz elements present to be recommended to those into nu-jazz sounds as well as nu-soul...or anyone who just loves good music!
Overall, ROUTES is a more eclectic collection of tracks than some of her previous albums (e.g., the 1999 Latin jazz/pop/soul-focused OPTIMISTA). Rather than hone in on a particular musical style, ROUTES to me is a collection of varied tracks that cover a lot of stylistic ground, from nu-soulful ballads to funky beats to driving straight-ahead jazz ("Yellow Light"). In fact, it's almost overwhelming on first listen ... in a good way, of course. Shinichi Osawa of Mondo Grosso was involved with the track "Remember," and he ably manages to bend his current electronic/club production style to fit Monday's musical vision (just as he does currently with his protege Eri Nobuchika). Another long-time collaborator The Angel also helps out on the track "I Couldn't See."
Perhaps needless to say at this point in her career, the songs are consistently first-rate both lyrically and melodically, and Monday's voice is at least as good as ever. Overall, with ROUTES Monday Michiru once again ends up musically ahead of where she was previously. What's most awesome is that here it is: 2006, and it's remarkable that we can talk about Monday Michiru's music with arguably even more enthusiasm than we have anytime over her decade-plus career. Sales may ebb and flow, but her talent for producing high-quality albums has yet to dip, maintaining a steady climb despite her issuing roughly one all-new album per year, a relatively prolific pace."
Damn Good
silhouette_of_enchantment | USA | 03/05/2006
(5 out of 5 stars)
"Again, Monday Michiru, ever the chameleon songstress, changes direction once more on this album. Michiru departs from traditional jazz that dominated on her previous album, "Moods" in favor of a a variety of musical styles on this album - acid jazz, funk, and surprisingly a return to house that dominated her most celebrated album "Double Image." To be honest, although her house songs are not bad, I favor her jazz songs. But this is just a personal preference. I especially love when she scats.
As on her previous albums, her arrangments are ecletic, complex, and beautiful and it's also lyrically tight. To me, Michiru is one of the deepest songwriters out there because her lyrics are deep and candid. And as much as I love other acid jazz songwriters, her ability is unmatched and unparalleled even by them. All praise aside, one of the more interesting songs off of "Routes" is "The Right Time" commences with a loop of Buddhist Monks chanting, and even integrates gospel singers later in the piece. As ecletic as this arrangment is, she manages to make it all sound wonderful, and the lyrics were insightful, deep, where she admits that she's made her share of mistakes. "Hung Up" deals with her insecurities about being an artist who has turned older. "Touch the Sky," I believe is about encouraging someone who is about to give up on life to embrace life. "Philosophy Road" and "Yellow Light" are straight jazz tunes. I especially love her scatting on "Don't." "I'm Still Here," "Dig Deep," and "Touch the Sky," "Remember" are more house-like tunes. "Be who you are" is more of a acid jazz/funk song (but not as funky as songs found on "Deliciou Poison."
Those who enjoyed her "Double Image" will probably enjoy this album because some of the songs mark a return to the house/techno style found on "Double Image," others who loved "Moods" will probably also like this album because she has a great deal of jazz on this album. Those of you looking for Latin-tinged jazz as she touched upon on "Optimista," "Four Seasons," or(found briefly) on "Delicious Poison" on the song "Will You Still Love Me Tomorrow" will be want to find any. But, this is still a great album."
Track Listings (14) - Disc #1