"Orr's fleet-fingeredness and musical imagination, as evidenced by his confident dexterity and intriguing compositions, put him on one of the top shelves of today's guitar and overall musical elite. If there is any artistic justice at all, it is only a matter of time before many more people reach up and grab that particular book, open the pages and discover what they have been missing. " Walter Kolosky, Mahavishnu biographer ALL ABOUT JAZZ REVIEW BY MARCO ANDERSON. This recording is a radical departure from guitarist Carl Orr's previous high-voltage fusion output, and on first listening one can be lulled into a false sense of smoothness brought on by commercial aspirations. However, as the title suggests, there is much more to Deep Down than a cursory scratching at the surface would suggest. The sound is warm and familiar, and anyone with a penchant for Blue Note organ trios with Grant Green or early George Benson will be served well here. There are also some rather lush classical overdubbed acoustic guitar pieces, plus one or two solo efforts where Orr plays all instruments, apart from some junglist drum programming by Ernie McKone. Indeed, three distinct recording sessions appear to have gone into making this album, but they are nicely integrated into a pleasing whole. The disc kicks off with the first of five organ trio tunes, "Stand Alone," a classic 5/4 swing piece with a catchy but simple tune. Orr uses a hollow-body jazz guitar here and his tone is clear but mellow. Drummer Nic France keeps the whole thing bubbling along nicely, and the guitarist shows tasteful restraint throughout. Tracks such as "Peace by Peaceful Means" and "People Power," whose titles themselves tell us much about the writer's motivation for the album's direction, amply express his depth of thought and feeling. Orr can also trade chops with the finest, however, and on the drum-n-bass flavoured "11th hour," he and Butch Thomas do get down to some mean blowing, while France's excellent live drums replace McKone's sequenced work on the programmed version. Even in the midst of these fiery salvos, however, there is a simplicity of expression and execution which are the trademarks of a craftsman at his best and Orr plays with energy, directness and spontaneity throughout, putting his own stamp on this classic format. "Precious Baby Boy," "Nam Shin" and "Isolation" are all short, almost classical etudes, the former featuring a particularly lovely theme built on parallel harmonies. Two tracks are dedicated to departed friends, including the tender ballad "Nothing Can Hurt Her Now," another organ trio track. Deep Down is exactly what it says, rich in emotion in a soulful, bluesy way, still retaining high technical proficiency, albeit in a subtle setting. The production is studied and clear, lending a relaxed vibe to the sound. The title track is a romantic bossa nova, apparently inspired by the classy, sophisticated music of Burt Bacharach. Although this wide detour from Orr's normal musical path explores a more chilled-out, soulful area, he's managed to convey a deeply felt emotional sensibility through a warm, accessible medium. Whilst this music can be used as a soundscape for your favourite form of relaxation or dinner party, this well of heartfelt feelings can only be plumbed by going deep down into the very core of the music. Put your CD player on loop, turn down the lights and dive into this beautiful album. Tom Barlow Jazzwise August 2006 A classy guitarist, Carl Orr has more than enough timing, tone and chops to have got the call from fusion god Billy Cobham. But Deep Down also proves he knows a thing or two about good songwriting. A rootsy set, the recording is a stylistic turnabout: mostly guitar/Hammond trio (the excellent Pete Whittaker on organ and Nic France on drums) concocting fiery, back-to-basics grooves and bossa novas with progressive twists and guest spots for the likes of Christian Brewer and excellent tenor saxophonist Butch Thomas. Orr's playing suits perfectly this earthy, stripped-down style. Besides considerable fretboard flair, his tunes and solos are consistently lyrical: 'Peace By Peaceful means', 'People Power' (a standout) and the title track are all cases in point. Elsewhere, the guitarist launches headfirst into terrific hurtling improvisation on '11 th Hour', while 'Stand Alone' is a breezy Blue Note 5/4 with Brewer's alto whipping up a storm. Orr also indulges his acoustic playing smartly, notably 'Give the people something' channelling the Joao Gilberto songbook with pianist Steve Rose dancing about the melody. Engaging stuff. ALL ABOUT JAZZ; ABSOLUTE FREEDOM (Reviewed by Marco Anderson) This, the Australian guitarist's 5th self-produced album is a classic funky jazz-rock tour de force. Five years since his last recording, the CD is reminiscent of many of the finest mid-seventies funky jazzthetics, whilst showcasing the guitarist's inimitable mix of fiery guitar licks and compositional flair. The sound is also retro 70's, fitting that decade's mark as the zenith of this genre, that feeling further strengthened by the presence of no less than king of the fusion tub thumpers, Billy Cobham on two tracks, with whom Orr toured in the late 90's. The album's strong opener, 'Unstoppable' features Cobham's driving rhythm and Haines' lead soprano. This track would be at home on any of the drummer's great Atlantic platters from the mid 70's and was written particularly for the drummer's live set. It's also a good attempt at writing a "Headhunters' style tune, funky, fairly minimal but with a memorable tune. "Dangerfunk", the album's musical highpoint is 12 minutes of fusion at it's best, again powered by Cobham's trademark latin tinged-funky drums. Orr's guitar soars and screams over BC's batterie using a variety of effects to turn up the heat. His playing here is inspired and accomplished and he is obviously at ease with the esteemed company. Cobham's playing is also majestic, alongside some of his best recorded work. The guitarist's wit is evidenced by the inclusion of Donald Fagen's "Tomorrow's Girls", a strange choice, where Orr embellishes the simple melody, adding tasty licks very much in the Scofield style. Again with "Return of the Jazz Police", a light hearted tune aimed at a well known jazz trumpeter and self-appointed officer in that constabulary, his Scofield roots are even more pronounced. Always mindful of the composition's requirements though, he exudes good taste, an individual approach and a personal sound that can cry like Hendrix, comp with Scofield's surety or sculpt with the originality of Mclaughlin. "Non-violence is the Only Way Forward" is another super fast groove held down admirably by Dave de Rose, the title being self-explanatory. With this and "The Price of Peace" Orr lays his philosophy firmly on the table (he has been a practising Buddhist for over 20 years). This last track features a remarkable chromatic harmonica solo by Adam Glasser who also contributes some fine keyboards to the album, as well as an intimate and heart-felt bass solo by Neville Malcolm. If he can lay claim to a place in the top pantheon of guitarists in this genre, it is not through blatant fret melting technique, although on more than one track he shows he has chops in abundance. Nor is the man himself a self-interested extravert or wild showman. His prowess lies in mature composition and soulful yet ascerbic and profoundly tasteful guitar, that often knowingly betrays his major influences in Hendrix and Scofield. There aren't many guitarists that can call on the quality of Cobham and Haines for their solo projects and their endorsements are, to an extent, validation of this man's work. With this album he deserves to become a more familiar name, like a vintage wine waiting to be discovered.