Monday, July 23, 2018
The session is not just free, which would still be interesting of course with these musicians, it is most definitely a product of a kind of structured musical thinking that gives the numbers a feeling of fore-ordinance, of a special intention, a way to get the threesome together on a page like each one is writing this music as they play it, that a composition arises in each case in the way the three think together and out loud musically.
At the same time there are compositional things going on too. All meshes together in ways where you do not feel a radical separation of planned and spontaneous note-ing, but instead a thoughtful and soulful gathering of three masters who make a very pointed effort to listen carefully to one another and create something worthwhile.
Ras Moshe sounds great here, relaxed, himself, open and note-ful, a blowing that is with a true self-sound, not some other-else-sound. He shines on this! Dom Minasi is a guitarist who never sounds like anybody but himself, too, and at the same time invents lines and chording, timbral fingerprints that by now mark him as one of the most original and provocative guitarists active today. Poet-singer Nora McCarthy has the ability really to improvise and to do it well with a gorgeous voice and with lots of ideas like Jeanne Lee only she sounds like Nora McCarthy! And the lyrics, yes the words are hers and we dig!
The program goes from strength to strength. Now if that sounds good you owe it to yourself to get this one and listen closely! The world and this trio are ready each for the other right now! Start the melding together by getting this album. May thay make many more.
Tuesday, March 13, 2018
So all of that is readily heard on his latest and one of his very best albums, Spirit Signal Strata (Golden MGJSSS-01). For this outing Michael joins forces with a potent and open post-power trio. Kenwood Dennard is at the drums, a free-ranging and powerful exponent that brings the music ever forward. He is joined by the woody smarts contrabass of Keith Witty, who straddles the terrain between rhythm team functions and harmonic-melodic second lining quite effectively.
The program is a gradual outward traversal, beginning close to earth with some rootsy blues-rock-improv-jazz spans and then brings that further afield into spacier, more free spaces that include the roots but pull and stretch them to higher reaches of music.
The especially rewarding thing to center on is Michael's brilliant lining excursions, some of the very best from a guitarist that I have heard in years. He can keep a solid grounding in rootforms but still create a very idiomatically personal zone of drive and lyricism. On the free-er numbers he unleashes his more upward imaginative powers and creates a flow of musical lines that marks him the principal exponent in a school of one! The drenched drive of the guitar tone gives Michael's musical aura power and heft. The intelligence and soulfulness of his plectrum wielding and tone choice make it all work as a self-in-sound that gives Fusion a renewed vibrance and viability.
Is that clear? What I want you to do is get this album now, if you can. You who want to keep hip on the present-day scene need this album to throw you into the very much actuel. Michael remains and becomes ever more central! So listen.
Wednesday, December 27, 2017
Carla gives us her underground, world-weary vocals, which are just right for the songs we hear. The band consists of Carla plus Dave Newhouse on keys and reeds, and Bret H. Hart on electric guitar and electronics, plus a fair number of guests as called for. Carla co-wrote all the songs with either Bret or Dave.
You might hear a little Lydia Lunch or later Marianne Faithful or even Nico here. But then the songs virtually are of the caliber of a Jack Bruce or Steely Dan, or maybe even that other Carla...Bley in her "escalator" period? Or Weill and Brecht? Something in the attitude of all of that, yet itself more than the others. The songs have lots of substance, in other words. And it is pretty moody stuff, which suits the band well. Keep in mind these are not commercially repetitive, jingley things. They are more through composed. When I was a songster at Dick James Music, if I had played this for my boss he would have given me that look. Because it ain't pop.
The instrumental parts are well thought out, Bret's guitar a definite superior element in the mix, and Dave's keys and winds give further character to it all. The arrangements are excellent and avant rockish, I guess you could say.
It is the experience of the whole that makes this special. And it stays in a place throughout that is better heard than described. Art song, avant directness, poetic strength, especially intent on finding a natural, unforced originality.
It is music any serious listener with a good ear will be drawn toward.
I do suggest if you are a lover of the new and art-ish that you owe yourself a serious listen to this. I for one am very glad it is out and I can hear it a lot going forward. You may be like me. I think.
Friday, December 22, 2017
It's a rather obscure EP CD by Party Pack. Ice (pF Mentum CD107) is the title. Now why should you care about something you've probably no idea about? It is in part the whole point of why I write about music. To pass on what turns me on in the hope that it will turn YOU on, that's always part of the aim.
Part Pack is a quintet of Adam Hopkins on bass (and the composer on this), Patrick Breiner and Eric Trudel on tenor saxes, Dustin Carlson on guitar, and Nathan Ellman Bell on drums. Maybe you do not know these names? The point of course is the music...if good, the names follow!
And this is good, very good indeed. It is psychedelic freedom jazz-rock, I guess you could say. It is loose but clear in direction. It has a rock aggression and an avant jazz heat.
And it just SOUNDS great. That is the point, right? It is one of those advanced underground things that motors the music forward. And because nobody else will buy it, it is your duty to support such things by doing so. I say that not to offend you. Artists like this NEED your support. And if you listen carefully, you will I think agree that it is music that deserves attention.
Wednesday, November 15, 2017
Dominic fills the air with lyrical, accomplished original playing that includes a wonderful ability to comp and pick away within a very sophisticated harmonic-melodic world that in the end is his alone. There are no easy words to describe what he comes up with on this fine album, except perhaps to say that the lyrical tradition of Ralph Towner and Oregon are in no way antithetical to this music, though there is no sign of imitation, just a parallel universe.
He brings to us a beauty that bears your close attention and makes a smile adorn your face almost involuntarily. I do not think I need to say any further for now. Just listen.
Thursday, November 2, 2017
Michel Delville as one of the leading guitar practitioners in the adventuresome realms today is a natural hommage master. He turns in creative rock-solid performances and adds further electronics to the trio mix to fill things out. He is joined by Machine Mass regulars Tony Bianco on drums and Antoine Guenet on keyboards, synths and piano.
They take some of Hendrix's most compelling songs-compositions and make of them something both contemporary and spacy, without ever violating the spirit of the originals. So we get a notable mix of Jimi's classics, "Third Stone From the Sun," "Little Wing," "Voodoo Chile," "The Wind Cries Mary," etc.
It is an opportunity to get inside these tunes with an original take on them, and for Delville to let loose with freely spaced-out post-Hendrix guitar brilliance.
It may take a couple of listens to fully enter the Machine Mass zone. Once you do, it is a wondrous terrain of the very familiar combined with the unexpected.
Need I say more? Dig this one.
Thursday, October 5, 2017
That this is released on Nik Bartsch's Ronin label is not an accident. The themes for this album were written by Markus between 1985 and 1987. Yet they do not sound at all dated. They share with Bartsch's music a mesmeric minimal funk that sprawls wonderously outward with continually shifting, odd meters. It is a mid-sized ensemble of six players, Markus on touch guitars and soundscapes, plus two more guitars, bass guitars and live electronics.
Each segment carves out its meter-motif infinity with distinctly well hewn structure and flow. The final work "Unconditional" makes a definitive end of it with the most compelling and complex of all of them. I very much suppose your ears will hear the relation between the Crimsonian tide of those years as well as its place in the prog minimal funk that followed.
It is exceptional music for endlessly rewarding drift and ecstatic momentum. It is ensemble intricacy at its most musically stimulating, both rock and post-rock!
Grab it for sure!