Soul Emotion Bass 2

Soul Emotion Bass 2 by Harry Toledo begins with a steady beat oriented song, not long after followed by energetic funk bass pull. Etalase takes initiative in just a snap with attractive music outcome. The song gets sweeter as the chorus repetitive tone is brought by trumpet formidable rapid line of melody. For a reason, the first song is recorded in the form of live jam session. I suspect it is so in order to drive up the power of Harry’s acid jazz appeal. Aku Tergoda represents a regular smooth jazz composition. The song seems like intend to give an amiable listening experience for listeners, as decent as the unchallenging arrangement as well as composition. 

Rengat City Serves a rock scene prologue. There is an instant samba improvisation line in the middle interchanging session, which creates witty perception to the song. A trumpet melodious improvised line enriches the hustling arrangement of this song. Rengat City proves to be one of the most unpredictable song arrangements. Baby You’re My Love puts a child playful tone in a perpetual chorus. The particular song has an extra monotonous tonal line, only interesting in the evidence of melodic repetition, though it is very liable to causing boredom in several plays.  In converse, a new sight of hard acid rhythm takes full form in Funky Mood. The beat is eminently flawless. Harry’s improvisation through the middle-end chapter really adds up the mood. 

Aku Menunggumu withstands a very intimate experience, cool scene, and the deep vocal of the leading singer enhances the character of the melancholic song. Up to this point, only this song that can match up the atmosphere in Aku Tergoda. The composition is friendly to popular flavor, simultaneously aligned with listeners’ ear with small challenge. Kini, the consecutive song, persistently show pleasing groove, despite diatonic chord progression. A laid back melody is evident in the following song Romantic Note. The song connects perfectly with its previous song, in a sense that there is an interrelation between a groovy kind of tune and serene beat in Romantic Note. Not only the main melody renders decent composition, the background music, such as the chord progression, draws an affectionate feel, both of which make a fantastic combination in harmony. 

Last one, Harry presents a set of improvised bass line in Harry Jamming, which I rather dislike because of the plain rhythm, less noticeable chord improvisation, and every normal feature in a jam session I am less attentive onto. Soul Emotion Bass 2 concludes a better music orientation than the previous album. Harry maintains the symmetrical beat form he favors between the two albums, in spite of the fact that the later album draws more excellent harmony, more delirious, and more contagious. The album shows a great improvement compared to the first, and Harry no doubt has pushed his best to deliver this valuable piece of contemporary jazz art.