Task: Sentiment Analysis
Input (English): Smart sounds for the new millenium . There seems little point to classifying this music. When standard tunes from the American Songbook and jazz idioms such as swing and bebop spark little to no recognition among the general public, music that could once be called "experimental" or "avant garde" necessarily defines the modern mainstream. If there are similarities with early landmark recordings (e.g. Miles Davis' 70s fusion groups),  "Lawn Chair Society" would definitely qualify as the less raw and extemporaneous, more polished and civil descendant of its once-controversial forebears.    Aside from electronics and musical synthesis, three qualities in particular stand out about this music: composition is emphasized above improvisation; creativity and craftsmanship count for more than interpretation and invention (both of which require a standard repertoire); tonal colors, dynamics and humor receive the kind of attention they enjoyed with Duke Ellington, before the "bebop revolution."    Lest any listeners require the "jazz" label to enjoy this music, Kenny Werner has called on the A Team for this multifarious collection of tone poems and programmatic pieces. The trumpet of Dave Douglas and bass clarinet of Chris Potter descend on "Lo's Garden" like a busy, darting pair of humming birds (joined at the hip, naturally). Soon a more vegetative pace is established by Scott Colley's firmly grounded bass while Brian Blade's percussion alternates between following movement at the sub-particle and quantum-field levels. Meanwhile, Werner's keyboards paint patterns in waves of sound, moving from prepared piano to phased Fender wahs, with a dab of string synth for highlighting.    "Burble_burble_spleek" is as onomatopoeic as the title--wind chimes, telephone rings and Douglas playing some of the most vocalized (and intestinal) trumpet sounds this side of Clark Terry and Rex Stewart. "Uncovered Heart," a calming guitar-like ballad in E Major, is soon followed by the ambitious title number-- a collage of funked-up chatter, vocalized demagoguery by each horn player, some thoughtful discourse by Werner on piano, a ghostly dirge-like refrain intoned by unison horns, and finally the faint sounds of birds and hunters (certainly not a reference to a familiar White House-Halliburton figure?).  Closure comes not with a bang but with "Loss," essentially a richly-textured chorale by synthesized strings, followed by "Kothbiro," an extended peaceful incantation based on a simple African melody.    In conclusion, if "Kind of Blue" and Bill Evans' Vanguard Sessions are in your blood, this one is unlikely to replace either one.  All the same, it's well-conceived, smartly-executed, cutting-edge mixed-genre jazz
Output (English): POS