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Posts Tagged ‘Leonardo Pavkovic’

Romantic Warriors III – Canterbury Tales (2015)

Posted in Canterbury Scene, Documentary, Film, Progressive Rock, Review, tagged , , , , , , , , , , , , , , , , , , on April 29, 2015| 12 Comments »

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A documentary film by José Zegarra Holder and Adele Schmidt
Produced by Zeitgeist Media LLC
Total time: 118 minutes

Located in Kent, the south-eastern county nicknamed “Garden of England” for its bucolic beauty, Canterbury is a city of barely over 50,000 people, dominated (not just in a physical sense) by the sprawling mass of its stunning Gothic cathedral. For all its rich history, it is easy to imagine how stifling such a place might have felt to its younger denizens in the late Sixties. Its very Englishness, in some ways, explains many of the distinctive features of the musical movement that originated there in those heady years.

Even within a quintessentially niche context such as progressive rock, the Canterbury scene has acquired a cult status that transcends its unassuming beginnings. With often mind-boggling connections and ramifications that would make the task of drawing a family tree rather daunting, this “movement” – born, in a polite, understated English way, from the early musical pursuits of a handful of middle-class teenagers – became extremely influential, though never achieving any of the commercial success that was awarded (albeit briefly) to some of the original prog bands.

Well over two years in the making, and nearly two hours long, the third chapter in Adele Schmidt and José Zegarra Holder’s Romantic Warriors saga is at the same time similar and different from its predecessors. Though by far the most technically polished of the three documentaries – its pristine photography providing a perfect foil to the grainy footage from the Seventies – it is also the one with the strongest emotional impact. Meticulously researched, yet somewhat hampered by the unwillingness of some of the key protagonists of the scene to release material, or even just show up, the film occasionally feels like a story told from a third-person point of view. This, however, proves to be a strength rather than a weakness, lending an almost mythical quality to the narration.

In spite of some glaring defections, many of the exponents of the early Canterbury scene agreed to contribute to the film, providing their unique insights on the birth and development of the movement. Their contributions are supported by those of three modern-day experts: Aymeric Leroy, who maintains the most complete and informative website on the Canterbury scene; Bruce Gallanter of Downtown Music Gallery, one of New York City’s few surviving independent music stores; and Leonardo Pavkovic, head of Moonjune Records.

The story unfolds in chronological order, its very dense content sometimes hard to follow even for those who are familiar with the ins and outs of the scene – lively and colourful, yet tinged with an inescapable feeling of sadness. Because of the unavailability of a lot of the material recorded in those years, the music often takes a back seat: in fact, Canterbury Tales is the first film in the series to have a score written expressly by an outsider to the movement itself – the very talented, Maryland-based multi-instrumentalist/composer Dan Britton, who appeared in the first Romantic Warriors. On account of this and other factors, the film’s focus on people rather than music comes across even more strongly than in the previous two episodes of this “progressive music saga”.

If I had to sum up Canterbury Tales in few words, I would say that it is, first and foremost, about absence and loss. The story of Soft Machine – probably the best-known and most influential of the Canterbury acts – is mostly told by people who (with the sole exception of Daevid Allen) were not involved in the original incarnation of the band, though the availability of plentiful footage makes the extremely intricate tale come alive. Some of the protagonists of the scene seem to view their connection to Canterbury more like an embarrassment than a badge of honour: iconic keyboardist Dave Stewart’s image is hard to discern even in photo stills, while Robert Wyatt’s 1995 interview makes it quite clear that he is not interested in revisiting the past (“I am not a museum”).

In most other cases, however, the absence is a direct consequence of death: in fact, over the years the Canterbury scene has lost a larger share of its protagonists than other prog subgenres. The slight, pixie-like figure of Daevid Allen – with his lined face and uncannily young eyes and smile – weaves in and out of the narration, his untimely passing (occurred while the film was in post-production) reinforcing its melancholy, elegiac mood. In the whirlwind of images, the headline of Charlie Hebdo – the French satirical magazine that gained notoriety after the tragic events of a few months ago – flashes by a couple of times, perhaps easily missed, but adding to the pervasive sense of loss.

On the other hand, Canterbury’s trademark sense of humour and whimsy – a blend of quintessentially English nonsense, slightly risqué puns and highbrow suggestions – is suitably emphasized, in stark contrast with the stereotyped idea of progressive rock as an overly serious genre. Those characteristics are embodied by some of the musicians who appear in the film: Richard Sinclair’s gently eccentric, almost luminous presence, Mont Campbell’s charismatic allure and self-deprecating wit, Daevid Allen’s endearing quirkiness stand out, while others come across as more serious, but as a whole all the original protagonists give the impression of being content with their life, and still very much involved in artistic creation.

One of the most appealing features of Canterbury Tales lies in its “travelogue” aspect, apparently at odds with the narrow geographical focus of the original scene. Alongside Canterbury Cathedral’s majestic towers and pinnacles, the immaculately beautiful images of different locales – London’s Tower Bridge by night, Paris’ stately boulevards, the silver-grey North Sea shore, the peaceful greenery of the Apulian countryside, the bustling streets of Barcelona, the bright lights of the theatre district in Kyoto – illustrate the wide-ranging sweep of a movement that over the years managed to spread its influence well beyond the borders of its humble beginnings. Accordingly, the activity of non-English Canterbury bands such as Moving Gelatine Plates, The Muffins and Supersister is given ample recognition.

While watching Canterbury Tales, it is often hard not to feel that – unlike the first two chapters of the saga – the film’s main focus is on the past rather than the present. Daevid Allen’s enthusiastic endorsement of Gong’s newest member, maverick guitarist/composer Kavus Torabi, contrasts with the film’s final shot of David Sinclair’s deeply moving interpretation of his own signature piece, “Nine Feet Underground”, while the camera lingers over hands that, in spite of the evident marks of age, are as nimble as ever over the keys. Even if enough space is granted to those modern bands and artists who have picked up the baton (Forgas Band Phenomena, Planeta Imaginario, The Wrong Object and Syd Arthur), it is not enough to dispel the looming presence of the past, and the underlying poignancy so superbly conveyed by the opening and closing shots of Allen’s solitary figure on the sea shore. The dedication of the film to Zegarra’s mother and all the musicians who have passed away compounds the impression that Canterbury Tales is, in many ways, an epitaph.

Even if someone may find its relative lack of original music disappointing, Canterbury Tales is a beautiful, deeply touching (though not depressing) piece of filmmaking, a warm-hearted tribute to those protagonists of the scene who are no longer with us. While the film’s subdued mood reflects the impermanence of things, the lasting legacy of the music created by that handful of young people from a provincial corner of England is given its due, and the unavoidable sadness implied in Daevid Allen’s fateful parting words is somewhat mitigated. Highly recommended to every self-respecting progressive rock fan, Canterbury Tales is also an encouragement to delve deep into the treasure trove of this highly idiosyncratic subgenre’s rich output.

Links:
http://www.progdocs.com/Progdocs.com/Home.html
http://calyx.perso.neuf.fr/index.html
http://www.moonjune.com
http://www.downtownmusicgallery.com/Main/index.htm

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Moraine – Groundswell (2014)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , on November 10, 2014| 7 Comments »

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TRACKLISTING:
1. Mustardseed (3:11)
2. Skein (3:52)
3. Fountain of Euthanasia (3:25)
4. Gnashville (4:12)
5. In That Distant Place (6:20)
6. Synecdoche (3:52)
7. The Earth Is an Atom (5:12)
8. Waylaid (7:20)
9. Spiritual Gatecrasher (7:18)
10. The Okanogan Lobe (7:41)

LINEUP:
AliciaDeJoie – electric violin
James DeJoie – baritone saxophone, flute
Kevin Millard – NS stick bass
Dennis Rea – guitar, electronic interventions, Mellotron
Tom Zgonc – drums

Four years after their recording debut, Manifest Density – followed by a career-defining appearance at NEARfest 2010, captured on their second album, Metamorphic Rock – Seattle quintet Moraine are back with Groundswell, their long-awaited third release. In the past couple of years, there have been some remarkable events for the band – namely the entry of drummer Tom Zgonc (a longtime associate of guitarist and mainman Dennis Rea) to replace Stephen Cavit, and appearances at West Coast festivals SeaProg and NorCalProg.

Introduced by a striking aerial photograph of the Atlantic island of Tristan da Cunha – one of the loneliest places on Earth – Groundswell shows a band firing on all cylinders. While the backing of Leonardo Pavkovic’s Moonjune Records label remains a reliable constant in the band’s career, Moraine are clearly not the kind of outfit that thrives on playing it safe, and this third chapter in their recording history clearly points forward rather than backward. With renowned sound engineer Steve Fisk (of Nirvana and Soundgarden fame) at the helm, the album sounds powerful yet clear, gritty in all the right places, yet almost ethereal when needed. Though some of the tracks had already appeared on Metamorphic Rock, they are not mere duplicates of already available material, but are integrated into the fabric of an album that stands out for its compositional tightness.

Clocking in around a very sensible 52 minutes, Groundswell bears all the hallmarks of classic Moraine, in particular their signature device of using a main theme in their compositions that brings them full circle. The music is powered by the tireless engine of Tom Zgonc’s drums and Kevin Millard’s stick bass, but also clustered around the shifting, intersecting lines of James DeJoie’s sax, Alicia DeJoie’s violin, and of course Dennis Rea’s guitar. This core trio is also responsible for the majority of the writing, with two of the 10 tracks written by other Seattle-based musicians. Indeed, the opening track, “Mustardseed”, a composition by composer and conductor Daniel Barry, is redolent of the warmth of faraway countries with its lazy, sauntering violin and sax duet, into which Rea’s sharp, meandering guitar interjects. On the other hand, the muted, rarefied elegance of “In a Distant Place” (written by Jon Davis of Zhongyu, whose members also include Rea and the DeJoies) owes a lot to Chinese music, though a burst of distinctly Western energy enlivens its texture towards the end.

The jaunty-paced “Skein” blends Moraine’s trademark sound with the almost big-band swagger of the main sax line, until an almost tempestuous climax of crashing drums and echoing guitar riffs. “Synecdoche” emphasizes adrenaline-drenched energy rather than melody, allowing Rea’s guitar free rein; whereas “Gnashville” does suggest country music (albeit in a very skewed fashion) in the starring role accorded to Alicia DeJoie’s violin, which engages in some Paganini-like acrobatics complemented by the distinctly hard rock vibe of Rea’s low-toned, growling guitar. “Fountain of Euthanasia” strikes a middle ground, its briskly upbeat opening shading into a pensive violin study offset by gently chiming guitar; similarly, “The Earth Is an Atom” juxtaposes an overall meditative mood with the sax’s more assertive exertions.

The album culminates with a trio of 7-minute-plus tracks that showcase the development of Moraine’s musical identity through the past few years. The deceptively lively beginning of “Waylaid” fades into a middle section that brings to mind Pink Floyd circa A Saucerful of Secrets – a sparse, hauntingly beautiful electronic storm infused with the violin’s ethereal touch. “Spiritual Gatecrasher” brings back that heady Oriental flavour, mixed with a witty, Canterbury-like bounce, the dreamy softness of James DeJoie’s flute spiced up by a sprinkling of guitar effects. Then, Rea’s love for geology emerges once again in the album’s closing track, “The Okanogan Lobe” (a reference to an ancient glacier of the Columbia River Valley) – Moraine’s own version of a symphonic poem, whose majestic pace seems to mimic the movement of the ice throughout the eras. Rea’s guitar is at its most lyrical in the intense, slo-mo climax that follows a lively jazz-rock workout.

Groundswell marks Moraine’s triumphant return to the progressive rock fray. The band successfully weave their diverse influences together in a seamless whole that highlights their uniqueness with every twist and turn of the music. Moraine are among the foremost standard-bearers of a modern form of jazz-rock that yearns to break free from the ponderous heritage of the Seventies. A near-perfect blend of lyricism, atmosphere and raw energy, Groundswell embodies, in many ways, the modern progressive ethos. Highly recommended to all open-minded prog listeners, this is essential listening for lovers of instrumental progressive rock.

Links:
http://www.moraineband.com/

http://moonjunerecords.bandcamp.com/album/groundswell
http://www.moonjune.com

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Susan Clynes – Life Is… (2014)

Posted in Canterbury Scene, Chamber Music, Progressive Rock, Review, tagged , , , , , , , , , on May 13, 2014| 9 Comments »

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TRACKLISTING:
1. Life Is (4:21)
2. A Good Man (3:49)
3. Childhood Dreams (6:31)
4. Les Larmes (9:36)
5. Tuesday Rain (5:08)
6. Ileana’s Song (3:37)
7. When You’re Dead (7:15)
8. Pigeon’s Intrusion (6:00)
9. Le Voyage (3:22)
10. Linear Blindness (4:12)
11. Butterflies (6:38)

LINEUP:
Susan Clynes – piano, vocals
Simon Lenski – cello (3, 4, 7, 8, 11)
Pierre Mottet – bass (2, 6)
Nico Chkifi – drums (2, 6)

Belgian singer/pianist/composer Susan Clynes first came to the attention of the progressive rock audience for her stunning vocal performance on the song “Glass Cubes” (written by her husband, keyboardist Antoine Guenet, also a member of Univers Zéro and Sh.t.gn) on The Wrong Object’s critically acclaimed 2013 album After the Exhibition. With a solid academic background supporting her obvious passion for music, it was just a matter of time before Clynes’s talent – first showcased in the piano trio album Sugar for a Dream, released in 2005, when the artist was just 17 years old – was recognized outside the boundaries of her native country, thanks to the sponsorship of peerless talent-scout Leonardo Pavkovic of Moonjune Records.

Released in February 2014, Life Is… marks Clynes’ international debut, and presents material recorded by the artist during three concerts held in two different locations. Although not exactly a prog album (indeed, its conventional rock quotient is very limited, it does stand squarely in that vast “grey area” at the periphery of that much-debated genre, and does have enough progressive characteristics to appeal to a sizable slice of its fandom. True, its intimate nature and stripped-down instrumentation, may be seen as a turn-off by those who crave lush, multilayered arrangements and an impressive arsenal of instruments, both traditional and exotic. On the other hand, Life Is… is a poster child for that often-applied tag of “progressive but not prog” (a blessing or a curse, depending on points of view).

While comparisons to highly regarded artists such as Kate Bush, Tori Amos or Fiona Apple (not to mention their spiritual “mothers”, Laura Nyro and Joni Mitchell) abound, it would be unfair to suggest that Clynes is in any way a copycat artist. For one thing, her strong, confident voice (sounding a bit strained on a couple of tracks, but then at 26 years of age she has still plenty of room for growth), eschews the overly ethereal or mock-operatic tones adopted by far too many female singers, and is actually more effective when keeping to a mid-range. Additionally, Clynes places an even stronger emphasis on the instrumental component, often using her voice as an instrument rather than in “traditional” singing.

With its catchy melody and uplifting, life-affirming lyrics, the title-track possesses a faint Canterbury vibe even in its chamber dimension; Clynes’ emotional vocals and dramatic piano do not need any further embellishments to keep listeners on their toes. The song is one of four recorded during a solo performance at the library of the Cultural Centre of the Flemish town of Bree – together with the rarefied torch song of “Tuesday Rain”, the more assertive “Linear Blindness” and the gentle, impressionistic instrumental vignette of “Le Voyage”. On the other hand, the jaunty, energetic “A Good Man” (which reminded me a lot of Kate Bush) and the delightful, lilting ballad “Ileana’s Song” (dedicated to her daughter, who was born during the recording of the album) feature the discreet presence of Pierre Mottet’s double bass and Nico Chkifi’s drums, and were recorded during the first of two shows at Brussels’ historic Art Deco bar The Archiduc.

In the remaining five tracks (also recorded at The Archiduc, though on a different occasion), Clynes is accompanied by cellist Simon Lenski of Belgian chamber rock outfit DAAU on cello, with truly outstanding results. The distinctive sound of the instrument complements her voice, and allows her to display her full potential – as in the scintillating “Childhood Dreams” (dedicated to another influential figure in Clynes’ life, her aunt Yoka, who passed away while she was writing the album), with its breezy scat overtones. The 9-minute “Les Larmes” (the longest track on the album), dedicated to the Israeli-Palestinian conflict, is infused by a warm Spanish/Mediterranean feel enhanced by Susan’s lovely wordless vocalizing, while the cello, even with its occasionally strident, drawn-out tone, lends it an almost classical solemnity – which also emerges in the autumnal, Old-World-flavoured instrumental “Pigeon’s Intrusion”. In sharp contrast with the bright-eyed optimism of the title-track, “When You Are Dead” sounds hypnotic and ominous, with Clynes’ lower-pitched voice and the treated cello dipping and surging in unison in a blend of romanticism and tension – a pattern also displayed in haunting closing track “Butterflies”.

With a well-balanced running time of about one hour, plenty of melody, yet also ample room for more offbeat fare, Life Is… offers an accessible listening experience, yet with enough of an edge to appeal to listeners of a more adventurous bent. Packaged in an attractively minimalist cover showing a lovely photo of the artist’s face – embellished by clear gems that mirror the sparkling nature of her music – and the added interest value of Sid Smith’s impeccably penned liner notes, this album is already poised to become one of 2014’s highlights in terms of non-mainstream music releases.

Links:
http://susanoclynes.wix.com/susanclynes-music
http://www.moonjune.com/mjr_web_2013/catalog_mjr/061_SUSAN-CLYNES_Life-Is_MJR061/
http://moonjunerecords.bandcamp.com/album/life-is

 

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I Know You Well Miss Clara – Chapter One (2013)

Posted in Canterbury Scene, Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , on November 14, 2013| 2 Comments »

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TRACKLISTING:
1. Open the Door, See the Ground (10:17)
2. Conversation (8:02)
3. Pop Sick Love Carousel (6:16)
4. Reverie #2 (14:51)
5. Love Letter from Canada (4:26)
6. Dangerous Kitchen (9:04)
7. A Dancing Girl from Planet Marsavishnu Named After the Love (10:48)

LINEUP:
Reza Ryan – guitar
Adi Wijaya – keyboards
Enriko Gultom – bass
Alfiah Akbar – drums

With:
Nicholas Combe – sax (6, 7)

With their rather intriguing handle (allegedly referring to a former girlfriend of guitarist Reza Ryan’s), accompanied by equally intriguing cover artwork, I Know You Well Miss Clara are the latest gem unearthed by Moonjune Records’ Leonardo Pavkovic in the thriving Indonesian music scene. The quartet join fellow countrymen simakDialog, Tohpati and Ligro on the New York label’s ever-growing roster of progressive artists with their debut album, aptly titled Chapter One. Formed in 2010 in the erstwhile Indonesian capital of Yogyakarta (which is also a renowned centre for Javanese classical art and culture) when its members were studying at the Indonesia Institute for the Arts, the band caught Pavkovic’s attention during one of his frequent trips to South-East Asia in search of new talent.

As pointed out in the liner notes (penned by esteemed music writer and King Crimson biographer Sid Smith), Chapter One was recorded in 18 hours, all of the tracks being first or second takes – a testimony to the band’s energy and enthusiasm for their craft. The album itself offers a refreshing take on the classic jazz-rock template so well interpreted in the Seventies by the likes of Return to Forever, Weather Report and Mahavishnu Orchestra – the latter being by far the biggest influence on the band’s sound. Canterbury outfits such as Hatfield and the North and National Health are also a clear source of inspiration for I Know You Well Miss Clara, as indicated by a playful exuberance that speaks volumes about the  members’ enjoyment of music-making, coupled (though never in conflict) with a very high level of technical proficiency.

If compared with simakDialog (whose latest album, The 6th Story, was released at the same time as Chapter One) I Know You Well Miss Clara are more firmly rooted in the Western jazz-rock tradition, with a lone drummer (the excellent Alfiah Akbar) employing a standard kit rather than a trio of kendang percussionists. Although their sound also places a stronger emphasis on guitar (which is not surprising, seen as Reza Ryan is the main composer), none of the four band members prevails on the other or indulges in showing off his skills. Opening track “Open the Door, See the Ground” starts out sedately, then veers into a more experimental mood, with dramatic drums and whooshing, spacey synth complementing Ryan’s sizzling yet tasteful solo. The interplay between the guitar and Adi Wijaya’s piano (both electric and acoustic) is spotlighted in the appropriately-titled “Conversation”, a more laid-back piece with an entrancing ebb-and-flow movement and plenty of melody. This elegant yet accessible approach, injected with sudden surges of energy driven by organ and guitar, is also pursued in the Canterbury-flavoured“Pop Sick Love Carousel”; while the album’s centerpiece, the almost 15-minute “Reverie #2”, starts out at a slow-burning pace, then gradually gains momentum – both piano and guitar emoting in almost improvisational fashion, bolstered by Enriko Gultom’s nimble bass lines – slowing down again towards the end.

The shortest track on the album at around 4 minutes, “Love Letter From Canada” is also the most unusual: a haunting, emotional ambient study of surging keyboard washes, sparse guitar  and cascading cymbals, it hints at interesting future developments in the band’s sound. Its mood is briefly reprised at the beginning of “Dangerous Kitchen”, which then morphs into a leisurely jazzy piece where guest Nicholas Combe’s sax and guitar work almost in unison, leaving some room for a bit of improvisation before the end. A lovely tribute to Ryan’s idol John McLaughlin – by the amusingly tongue-in-cheek title of “A Dancing Girl from Planet Marsavishnu Named After the Love” – closes the album in style, referencing the iconic “Dance of Maya” (from Mahavishnu Orchestra’s debut album, The Inner Mounting Flame) in a buoyant, dance-like ride interspersed by pensive, sax-led passages before its exhilarating, almost cinematic finale.

Clocking in at around 63 minutes, Chapter One is never at risk of overstaying its welcome in spite of the length of the majority of its tracks. Successfully blending serious chops with engaging spontaneity and enthusiasm, I Know You Well Miss Clara’s debut is one of the best instrumental albums released in 2013 so far, and will delight devotees of classic jazz-rock/fusion – especially those who prize emotion over an excess of technical fireworks. Hopefully the band will follow in simakDialog’s footsteps and visit the US as soon as possible.

Links:
http://iknowyouwellmissclara.weebly.com/index.html

http://moonjunerecords.bandcamp.com/album/chapter-one

http://www.moonjune.com/mjr_web_2013/catalog_mjr/057_I-KNOW-YOU-WELL-MISS-CLARA_Chapter-One_MJR057/

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simakDialog – The 6th Story (2013)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , on November 3, 2013| 3 Comments »

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TRACKLISTING:
1. Stepping In (10:01)
2. Lain Parantina (9:06)
3. Harmologic (3:52)
4. What I Would Say (6:17)
5. For Once and Never (6:29)
6. Common League (3:53)
7. As Far As It Can Be (Jaco) (8:01)
8. 5, 6 (4:38)
9. Ari (6:52)

LINEUP:
Riza Arshad – Fender Rhodes electric piano, acoustic piano, synth, soundscapes
Tohpati – guitar
Adhitya Pratama - bass
Endang Ramdan – Sundanese kendang percussion (left)
Erlan Suwardana – Sundanese kendang percussion (right)
Cucu Kurnia – assorted metal percussion

Undoubtedly the best-known modern Indonesian outfit in a progressive rock/jazz context, simakDialog have attracted a cult following in the West since the release of their 2007 live album Patahan (their first for Leonardo Pavkovic’s Moonjune Records), followed in 2009  by Demi Masa. Formed in 1993 in the Indonesian capital of Jakarta by jazz-trained keyboardist Riza Arshad and guitarist extraordinaire Tohpati Ario Hutomo, the band released three albums – Lukisan, Baur and Trance/Mission – between 1995 and 2002 before Pavkovic took them under his wing and gave them international recognition. After a series of mishaps (including the cancellation of NEARfest 2011, where they were scheduled to appear), their long-awaited US tour – which coincided with the release of their fifth studio album, The 6th Story – finally materialized in the late summer of 2013, kicking off with a headlining performance at ProgDay that was unfortunately interrupted by heavy rain, and wrapped up by a very well-attended show at the Orion Studios, introduced by French avant-garde trio Jean-Louis.

As used and abused as the “East meets West” definition can be, there is no better way to describe simakDialog’s music to the uninitiated. Alongside electric guitar, bass and that iconic cornerstone of jazz-rock, the Fender Rhodes electric piano, the six-piece configuration of the band features a trio of percussionists in the style of the traditional gamelan ensembles – Erdang Ramdan and Erlan Suwardana playing the Sundanese two-headed kendang drums, and Cucu Kurnia (the band’s most recent addition) handling metal percussion. The result is a uniquely warm sound with a remarkably natural flow, capable of flashes of angularity and even brief forays into noise, yet never overwrought. In addition, though each of simakDialog’s members is a virtuoso of his own instrument, the band emphasize ensemble playing at its finest rather than technical flash, with individual skills put at the service of the composition rather than the other way round.

SimakDialog’s music, on the other hand, may not prove to be the easiest proposition for those who are used to the in-your-face antics of many traditional prog bands. Subtlety is the operative word on The 6th Story, and that in itself requires a lot of patience on the part of the listener. Their leisurely, unhurried approach to live performance has also more in common with Eastern than Western tradition, focusing on the sheer joy of playing and the creation of subtle moods rather than the head-on adrenaline rush of the standard rock concert.

Clocking in at a handful of seconds under an hour, The 6th Story (the band’s first entirely instrumental album in over 10 years) opens with “Stepping In”, the album’s longest track, which aptly illustrates simakDialog’s  modus operandi. While the sinuous interplay of Tohpati’s guitar and Riza Arshad’s scintillating Fender Rhodes immediately leaps out from the speakers, it is the joyful mayhem of the three percussionists that impresses in the long run, bolstered by Adithya Pratama’s impeccable bass emerging every now and then in the foreground. The track unfolds with supreme elegance, spiced up by sound effects that turn slightly chaotic towards the end. The 9-minute “Lain Parantina” also conveys a sunny, bright feel with its oddly catchy main theme and skillfully handled tempo changes, gaining momentum then slowing down to an almost sparse texture,  held together by the steady stream of percussion. Tohpati’s guitar is spotlighted in the much shorter “Harmologic”, while the piano takes an almost supporting role, working almost as an additional percussion instrument. In the second shortest track on the album, “Common League”, soundscapes add an intriguing note to the lively yet fluid sparring of piano and guitar.

SimakDialog’s more energetic side surfaces in “5,6”, where Tohpati displays his rock credentials (amply demonstrated in his power trio Tohpati Bertiga’s 2012 debut, Riot) with a distorted guitar solo; while the upbeat “For Once and Never” revolves around the expressive, almost conversational interplay of the two main instruments, supported by Pratama’s versatile bass. The discreet, laid-back “What Should I Say” pleases the ear with its smooth sounds, and “As Far As It Can Be (Jaco)” – a tribute to the ground-breaking bassist written by Arshad together with fellow Indonesian musician Robert M.K. – takes on a suitably elegiac tone, full of lovely, stately melody. “Ari” then closes the album by giving synth a leading role alongside the piano, with the ever-reliable percussion background seconding the music’s ebb and flow.

For the audiophile, headphones will be a must in order to savour The 6th Story in full, as letting it run in the background will definitely not do any favours to the music’s understated elegance.  Although the album may resonate more with jazz fans than the average prog audience, it is highly recommended to all open-minded listeners, especially those who enjoy the influence of different ethnic traditions on established Western modes of expression. All in all, The 6th Story is an extremely classy  effort (and one of the standout releases of 2013) from a group of very nice, unassuming and talented musicians, whom I hope to see again in the US very soon.

Links:
http://simakdialog.com

http://www.moonjune.com/mjr_web_2013/artists_mjr/simakDialog/

https://myspace.com/simakdialog/music/songs

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The Wrong Object – After the Exhibition (2013)

Posted in Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged , , , , , , , , , , , , on July 7, 2013| 6 Comments »

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TRACKLISTING:
1. Detox Gruel (4:13)
2. Spanish Fly (5:19)
3. Yantra (8:04)
4. Frank Nuts (3:38)
5. Jungle Cow Part I (5:50)
6. Jungle Cow Part II (4:40)
7. Jungle Cow Part III (6:07)
8. Glass Cubes (8:30)
9. Wrong but Not False (5:28)
10. Flashlight Into Black Hole (3:05)
11. Stammtisch (5:59)

LINEUP:
Michel Delville – guitar, Roland GR-09
Antoine Guenet  – keyboards, vocals
Marti Melia – bass and tenor saxes, clarinet
François Lourtie – tenor, alto and soprano saxes, voice
Pierre Mottet – bass
Laurent Delchambre – drums, percussion, objects, samples

With:
Benoît Moerlen – marimba and electronic vibraphone (2, 3, 5-7, 11)
Susan Clynes – vocals (8)

After the release of Machine Mass Trio’s As Real As Thinking and douBt’s Mercy, Pity, Peace and Love in the past couple of years, guitarist extraordinaire Michel Delville returns with his  main band, all-Belgian combo The Wrong Object. Only Delville and drummer Laurent Delchambre remain from the lineup that released Stories from the Shed in 2008: the band has now become a sextet with the addition of four new members, including brilliant keyboardist Antoine Guenet, the leader of avant-metal-jazz outfit Sh.tg.n. (whose self-titled debut was released in 2012), who recently joined RIO/Avant icons Univers Zéro.

One of the most prolific artists signed to Moonjune Records, the label founded by Leonardo Pavkovic in 2001, Delville is an extremely talented guitarist and composer, with a genuinely progressive attitude and a strong commitment to creative music-making. Though The Wrong Object have been in existence for over 10 years, and enjoyed a thriving concert activity all over Europe (witnessed by two live albums, The Unbelievable Truth (recorded in 2005 with the late, great Elton Dean) and Platform One (recorded in 2007 with renowned British jazz musicians Annie Whitehead and Harry Beckett), their studio debut came relatively late with Stories From the Shed – an excellent album drawing on a wide range of sources of inspiration. However, the 5-year break has brought further refinement to the band’s sound, resulting in a quantum leap in terms of quality.

Although Delville is the undisputed band leader and main composer, it would be wrong to assume that The Wrong Object’s sound is dominated by guitar antics. In fact – very much in the way of his Moonjune label mate Dennis Rea of Moraine –  Delville’s presence is surprisingly discreet, often leaving the limelight to the band’s duo of saxophonists, Marti Melia and François Lourtie. Guenet’s keyboards flesh out the tune according to need, adding occasional melodic flourishes or energetic organ runs, while Laurent Delchambre’s versatile drumming and Pierre Mottet’s understated yet nimble bass lines provide a reliable foundation that keeps up effortlessly with the shifts in tempo and mood. Delville’s guitar anchors the album to the rock aesthetics, ramping up the electricity quotient even when keeping almost unobtrusively in the background. Renowned mallet percussionist Benoit Moerlen (of Gong/Gongzilla fame) guests on more than half of the tracks, adding the tinkling, cascading sound of his marimba and electronic vibraphone to the sonic texture.

Spread over nearly 60 minutes, the 11 tracks on After the Exhibition flow naturally in spite of their density. For all its eclecticism, the music is surprisingly cohesive and never comes across as contrived or overdone. Electric flare-ups coexist with intimate, subdued moments in an unpredictable and constantly exciting mix; at the same time, though, is also a more disciplined feel than in Delville’s two previous releases with douBt and Machine Mass Trio.

Opening with the shock tactics of the brisk, exhilarating “Detox Gruel”, propelled by raucous sax with dashes of organ and Delville’s slightly strident guitar, the album’s first half culminates with the unorthodox three-part “suite” of “Jungle Cow”. In over 16 minutes of music, the composition morphs from a collection of sparse, spacey sound effects into an intense sax-and-guitar duel. The 8-minute “Yantra” juxtaposes atmospheric lyricism and heady, almost free-form improvisation with blaring saxes and unleashed guitar, while the jaunty “Spanish Fly” is reminiscent of modern classical composers such as Bartok or Stravinsky, as well as jazz and Middle Eastern music..

The album’s second half is introduced by the jaw-droppingly beautiful “Glass Cubes” interpreted by the elegantly expressive voice of Belgian singer/songwriter Susan Clynes (compared by some to modern jazz icon Annette Peacock), complemented by Guenet’s gorgeous piano and backing vocals – a stylish, magical slice of 21st-century Canterbury sound that hints at the best moments of Hatfield and the North and Soft Machine. The final three numbers feel like an ideal continuation of the mood set by “Glass Cubes”, with definite Canterbury undertones in the sprightly, catchy “Wrong but Not False” and the invigorating, funk-tinged “Flashlight Into Black Hole”, where Pierre Mottet’s bass comes into its own. Wrapping up the album in style, the romantic, Old-World flavour and elegant waltz-like pace of “Stammtisch”, conducted like a conversation between guitar, piano and sax, is briefly interrupted by the instruments interacting chaotically, then calm returns for a slo-mo finale.

With its perfectly balanced running time, After the Exhibition is a true rollercoaster ride of dazzling musicianship coupled with sophisticated flair for melody that tempers and softens the bristling intensity of the album’s more electrifying parts.  Even if the avant-garde component is not as strongly spotlighted as in their previous effort, RIO/Avant fans will find a lot to appreciate in the album, as will lovers of the Canterbury scene, classic jazz-rock, and even psychedelic/space rock. On the other hand, the sheer beauty of “Glass Cubes” might win over those who are more attached to prog’s traditional extended-song format. Highly recommended to everyone, After the Exhibition is an exercise in pure class, and will certainly grace many a “best of 2013” list.

Links:
http://www.wrongobject.com/

http://www.moonjune.com/mjr_web_2013/catalog_mjr/055_THE-WRONG-OBJECT_After-The-Exhibition_MJR055/

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douBt – Mercy, Pity, Peace & Love (2012)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged , , , , , , , , , on December 13, 2012|

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TRACKLISTING:
1. There Is a War Going On (3:22)
2. Jalal (7:16)
3. No More Quarrel With the Devil (4:41)
4. Rising Upon Clouds (5:41)
5. Purple Haze (4:47)
6. The Invitation (4:03)
7. Mercy, Pity, Peace & Love (12:14)
8. There Is a War Going On (reprise) (1:18)
9. Tears Before Bedtime (2:44)
10. The Human Abstract (6:24)
11. No More Quarrel With the Devil (reprise) (1:14)
12. Mercury (4:19)
13. Goodbye My Fellow Soldier (9:10)

LINEUP:
Alex Maguire – keyboards, sequencer
Michel Delville – guitar, Roland GR09, samples
Tony Bianco – drums, sequencer

Three years after the release of their debut, Never Pet a Burning Dog (with Canterbury legend Richard Sinclair guesting on three tracks), multinational trio douBt are back with a new album whose title of Mercy, Pity, Peace & Love comes from “The Divine Image”, one of the poems in William Blake’s inspirational Songs of Innocence and Experience. The album, recorded in 2011, was released in the autumn of 2012. The three band members – British keyboardist Alex Maguire, seasoned American drummer Tony Bianco and volcanic Belgian guitarist Michel Delville  – come from different yet complementary musical experiences, and have also collaborated on previous occasions (Delville and Bianco in Machine Mass Trio, Delville and Maguire on the Brewed in Belgium live album, released by Moonjune in 2008). Together they form an unconventional power trio, where the bass guitar is replaced by cutting-edge technology:  indeed, on Mercy, Pity, Peace & Love the role of technology as support to the explosive energy of rock is promoted with great effectiveness.

Just like its predecessor, Never Pet a Burning Dog (where the improvisational, free-jazz component was married to an unmistakable Canterbury influence), Mercy. Pity, Peace & Love sums up the current direction of Moonjune Records mainman Leonardo Pavkovic’s view of progressive music-making. Drawing upon rock, jazz, fusion, ambient and avant-garde with a fearlessly genre-bending attitude, the three band members bring their respective musical backgrounds to the table and merge them in a multifaceted yet cohesive whole. Tony Bianco’s jazz-inflected drumming is capable of understated finesse as well as muscular, propulsive power, and lays down a reliably eclectic foundation for the interplay between Alex Maguire’s fuzzy, slightly hoarse-sounding organ, reminiscent of Mike Ratledge’s unique tone, and Michel Delville’s dazzling guitar exertions.

Including parts of a recorded speech in an album is not a new device in rock music, and may come across either as a powerful statement of intent or as a rather cheap gimmick Here, the speech in question – delivered by firebrand US Senator Bernie Sanders – is focused on “class warfare” and the gradual disappearance of the middle class. The vintage psychedelic feel of the swirling organ and guitar fits the mood of the song perfectly, and is briefly reprised later in the album, reinforcing the sense of cohesiveness of the whole work. In a similar vein, the mid-paced yet raw-sounding “Tears Before Bedtime” and  a blistering cover of Jimi Hendrix’s iconic “Purple Haze” showcase Delville’s fierce, distorted guitar while emphasizing the remarkable synergy between the three musicians. Propelled by Bianco’s flawlessly dynamic drumming patterns, the  funky “Jalal” features stunning guitar and piano in an alternation of atmospheric and fiery moments.

Mercy, Pity, Peace & Love’s two “epics” – 12-minute title-track, strategically placed in the middle of the album, and  9-minute closing track “Goodbye My Fellow Soldier”-  highlight the fundamental influence of Soft Machine on douBt’s sound. Indeed, the  wailing keyboards and sinuous drumming of the former – bolstered by sampled strings at the onset, then allowed free rein –   bring to mind the legendary Canterbury outfit on steroids, while the latter takes a solemn, even somber direction, as hinted by the title. The angular, riff-driven opening of “No More Quarrel With the Devil” leads into a scorching guitar-organ duel that blends King Crimson and Deep Purple, while “Rising Upon Clouds” offers a surging, appropriately chaotic sonic description of a gathering storm that evokes Pink Floyd’s “A Saucerful of Secrets”. On the other hand, the band’s jazz matrix emerges clearly in the discreet, piano-led “Mercury” and the nostalgic, ballad-like “The Invitation”, where Delville’s beautifully melodic guitar is underpinned by understated drums and keyboards.. Finally in “The Human Abstract”, the instruments seem almost to be playing at odds, yet everything holds together, with electronics adding a spacey touch.

Combining outstanding musicianship, a healthy dose of eclecticism and plenty of emotion (which is not always the case with this kind of music),  Mercy, Pity, Peace & Love is riveting from start to finish, and – though clocking in at a rather hefty 67 minutes – never feels as padded or overstretched as other albums with a comparable running time. Highly recommended to all lovers of instrumental music, both of the rock and the jazz persuasion, Mercy, Pity, Peace & Love will equally appeal to fans of Soft Machine and Jimi Hendrix, and will definitely earn a mention in many a “best of 2012” list.

Links:
http://www.myspace.com/doubt3

http://www.moonjune.com

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Allan Holdsworth – Hard Hat Area (1993/2012)/ None Too Soon (1996/2012)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , , , on May 29, 2012|

TRACKLISTING:
1. Prelude (1:35)
2. Ruhkukah (5:32)
3. Low Levels, High Stakes (9:03)
4. Hard Hat Area (6:03)
5. Tullio (5:59)
6. House of Mirrors (7:44)
7. Postlude (5:28)

LINEUP:
Allan Holdsworth –  guitar, SynthAxe
Steve Hunt  – keyboards
Gary Husband – drums
Skúli Sverrisson – bass guitar

TRACKLISTING:
1. Countdown (3:09)
2. Nuages (5:40)
3. How Deep Is the Ocean (5:29)
4. Isotope (5:41)
5. None Too Soon Pt. 1 / Interlude / None Too Soon Pt. 2 (7:42)
6. Norwegian Wood (5:55)
7. Very Early (7:40)
8. San Marcos (3:22)
9. Inner Urge (6:15)

LINEUP:
Gordon Beck – digital piano, keyboards
Kirk Covington – drums
Allan Holdsworth – guitar, SynthAxe
Gary Willis – bass guitar

Yorkshire-born guitarist Allan Holsworth needs no introduction for progressive rock lovers of every persuasion. Before Steve Vai, Joe Satriani, John Petrucci and their ilk’s dazzling, faster-than-the-speed-of-light skills on the six strings gained worldwide success, Holdsworth had already attained legendary status for his work both as a solo artist and with the likes of Gong, Soft Machine, Jean-Luc Ponty and UK. Though the albums released in his own name are in the minority if compared to the sheer number of his collaborations, over the years they have become almost objects of cult in the community of jazz-fusion fans

Though I was familiar with Holdsworth’s work with bands such as UK and Gong,  I had not yet got round to exploring his solo output. Holdsworth’s reputation as the quintessential “musicians’ musician” may cause his work to be somewhat daunting for those who, like myself, have never touched a musical instrument in their lives. However, even laypersons can derive a lot of enjoyment from listening to music of such outstanding level,  although the nature of our comments will necessarily be “impressionistic”, so to speak, and probably even more so than in other occasions – as we will be unable to touch on any of the technical details essential for any practicing six-stringer.

Hard Hat Area and None Too Soon belong to the stage of Holdsworth’s full maturity as a musician and composer, as well as a pioneer of the iconic SynthAxe. Released only three years apart (respectively in 1993 and 1996), they differ quite noticeably in terms of  style and lineup. Both albums were out of print for a number of years before Leonardo Pavkovic of MoonJune Records (who is a personal friend of Holdsworth’s as well as fan of his music) took it upon himself to have them remastered and reissued – complete with exhaustive liner notes retracing their history, courtesy of Guitar Player magazine associate editor Barry Cleveland (also a fine musician in his own right). The distinctive elements of both albums are lovingly brought to the fore, with excellent sound quality that allows the listeners to partake of the seamless instrumental interplay without feeling overwhelmed by thousands of notes played at the speed of light.

As Cleveland points out, Holdsworth’s eight solo album, Hard Hat Area, is a logical extension of the guitarist’s previous efforts. It also marks the first time that he recorded an album in the studio with his touring band  (comprising drummer Gary Husband, keyboardist Steve Hunt and Icelandic bassist Skúli Sverrisson), instead of recording each track on his own and then adding the other instruments. Not surprisingly, the result are 41 minutes of music that are astonishingly proficient from a technical point of view, yet also warm and fluid, showcasing Holdsworth’s trademark style without detracting from the other players’ outstanding skills. Indeed, in spite of the sky-high level of proficiency involved, the listener never gets the impression that the musicians are showing off – unlike  much of the output of modern “guitar legends”. The music possesses that easy, natural flow that can be so hard to achieve, and the crystalline sound quality emphasizes the sleek, effortless nature of the interaction between the various instruments.

The album, conceived in near-symphonic fashion with a “Prelude” and a “Postlude”, is laid-back, at times even lyrical in mood. In the almost 10-minute “Low Levels, High Stakes”, Holdsworth’s guitar and SynthAxe take on a calm, meditative tone, reflected by Hunt’s lovely rippling piano and Husband’s muted yet stunning drum work. Elegant and full of melody, the textbook-perfect fusion of “Ruhkukah” proves once again that fast playing does not have to equal soulless shredding. The title-track, on the other hand, introduces some harsh, industrial elements through mechanical sound effects and a sharper, metallic guitar tone; The atmospheric quality of “Postlude”, enhanced by ethereal keyboard washes, allows Skúli Sverrisson’s splendidly understated bass to step into the limelight, while the SynthAxe engages in a sort of “duel” with the drums, emphasizing the almost uncanny chemistry between Holdsworth and Husband.

Even if released less than three years after Hard Hat Area, None Too Soon is quite a different beast – featuring a completely new band (including Holdsworth’s longtime friend and collaborator, the late pianist Gordon Beck) and a tracklist largely consisting of covers of jazz classics by revered composers such as Bill Evans, Irving Berlin and John Coltrane. While Hard Hat Area is a top-notch example of fusion, None Too Soon treads into traditional jazz territory, though the pervasive presence of the SynthAxe pushes it firmly into a contemporary context that might alienate hardcore purists. Gary Willis and Kirk Covington of US jazz-fusion outfit Tribal Tech provide an impeccable rhythm backdrop, often understated, occasionally stepping into the limelight. However, the real protagonist of the album – in some ways even more so than Holdsworth – is Gordon Beck’s fluid, scintillating piano, which complements Holdsworth’s playing with the effortless ease born of a long partnership.

Clocking in at around 51 minutes, the album features 9 tracks, two of which are Beck’s own compositions – the three-part title-track, with its almost lazy, relaxed mood, and the brisk, energetic “San Marcos”. The jazz novice will probably be unfamiliar with most of the tracks, except for The Beatles’ “Norwegian Wood” – here almost unrecognizable, with a dazzling, piano-led central section bookended by the well-known, Indian-tinged tune. An understated, atmospheric rendition of Django Reinhardt’s “Nuages”, with Beck’s magnificent piano complementing Holdsworth’s exertions, and Bill Evans’ elegant, romantic “Very Early”, which sees Willis’ bass emerge discreetly, are also among the undisputed highlights of a very solid album.

Needless to say, both albums are essential listening for any self-respecting fan of jazz-rock/fusion, as well as for guitarists who want to learn how to effectively combine speed and technical proficiency with melody and emotion. They also offer an invaluable introduction to Holdsworth’s solo output, as well as a genuinely enjoyable listening experience for those non-musicians who  love great music. Kudos to Leonardo Pavkovic for having rescued these excellent albums from oblivion.

Links:
http://www.therealallanholdsworth.com/

http://www.moonjune.com

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Marbin – Breaking the Cycle (2011)

Posted in Fusion, Jazz, Jazz-Rock, Review, tagged , , , , , , , , , , , , , on April 21, 2011| 2 Comments »

TRACKLISTING:
1. Loopy (5.59)
2. A Serious Man (3.49)
3. Mom’s Song (2.05)
4. Bar Stomp (3.04)
5. Outdoor Revolution (3.08)
6. Western Sky (2.12)
7. Burning Match (5.11)
8. Claire’s Indigo (2.11)
9. Snufkin (2.48)
10. Old Silhouette (4.12)
11. Winds of Grace (8.39)

LINEUP:
Dani Rabin – guitar
Danny Markovitch – saxophone
Steve Rodby – bass
Paul Wertico – drums, percussion (1, 8)

With:
Jamey Haddad – percussion (2, 4, 6, 8, 9, 10)
Matt Davidson – vocals (3, 6)
Leslie Beukelman – vocals (3, 6)
Makaya McCraven – drums (4)
Daniel White – lyrics, vocals (11)

Marbin’s eponymous debut came to my attention towards the end of 2009, soon after its release. Even if the duo formed by two young, talented Israeli-born musicians who had recently moved to Chicago was an unknown quantity to me and most other reviewers, the album’s endearingly naïve artwork and intriguing musical offer were enough to warrant closer scrutiny. With a name cleverly fashioned out of the surnames of the two artists (Danny MARkovitch and Dani RaBIN), Marbin made their debut on the US music scene with an album full of intriguing melodies crafted with ony two instruments – Rabin’s guitar and Markovitch’s saxophone – characterised by an ethereal, almost brittle quality, reminiscent of the delicacy of Far Eastern art, complex yet at the same time not too taxing for the listener.

The year 2010 marked a veritable quantum leap for Marbin (very active on the live front in the Chicago area), when they came under the radar of MoonJune Records’ mainman Leonardo Pavkovic, a man with a keen eye for new acts of outstanding quality. Promptly snapped up by the New York-based label, Marbin – who in the meantime had become a real band, with the addition of  Pat Metheny alumni Steve Rodby (bass) and Paul Wertico (drums) – released their second album at the beginning of 2011.

Breaking the Cycle is indeed an impressive effort, which sees the band build upon the foundation laid by their debut, while fine-tuning their sound and adding layers of complexity, though without making things unnecessarily convoluted. Indeed, rather interestingly, a fellow reviewer used the term ‘easy listening’ in connection to the album –  a definition that may conjure images of that openly commercial subgenre known as smooth jazz. However, while Breaking the Cycle does have plenty of smoothness and melody, I would certainly never call it background music. The presence of a full-blown rhythm section has given a boost to the ambient-tinged, chamber-like atmosphere of the debut, and some of the tracks display a more than satisfying level of energy and dynamics, all the while keeping true to the deeper nature of their sound.

Clocking in at slightly over 40 minutes, Breaking the Cycle immediately appears as a supremely sophisticated effort, starting from the striking cover artwork whose mix of the industrial (the bridge on the front cover) and the natural (the elephant on the back cover) seems to reflect the nature of the music itself. While the majority of the tracks lean towards the slower, more atmospheric side of things, delivered in a rather short, somewhat compact format, the album is bookended by two numbers that differ quite sharply from the rest, as well as from each other. Opener “Loopy” is the closest Marbin get to a ‘conventional’ jazz-fusion sound, almost 6 minutes of sax and guitar emoting over an exhilarating jungle beat laid down by Wertico’s drums and percussion that gives a first taste of the seamless interplay between the instruments. On the other hand, the medieval-tinged, acoustic folk ballad “Winds of Grace”, masterfully interpreted by guest singer Daniel White (who also wrote the lyrics), though apparently out of place in the context of the album,  is imbued with a feeling of nostalgia and loss suggested by several other tracks.

Indeed, the three numbers that form the central section of the album might almost be considered as parts of a single suite, since they are characterized by a wistful, romantic (though anything but cheesy) mood. An extended sax solo is the real showstopper in “Outdoor Revolution”, while wordless vocalizing enhances the country-tinged acoustic guitar in “Western Sky”. “Burning Match” seems to reflect its title almost perfectly, its smouldering atmosphere touched with a hint of sadness, the yearning tone of the sax suggesting the end of a love affair. A strong visual element is evoked throughout the album: “Old Silhouette” creates a faintly mysterious picture, yet full of subtle warmth intensified by the slow, deep movement of the percussion; while the sweet, soothing chanting in “Mom’s Song”, combined with the gentleness of the guitar, brought to my mind images of a beach at sunset. In sharp contrast, “Bar Stomp” delivers exactly what the title promises – a bluesy, electrified romp with Rabin’s guitar taking centre stage, bolstered by an imposing percussive apparatus involving the presence of three drummers (Wertico plus guests Makaya McCraven and Jamey Haddad), and spiced up with a hint of cinematic tension.

The final remarks I made in my review of Boris Savoldelli’s Biocosmopolitan may also apply to Breaking the Cycle. Oozing sheer class, with outstanding performances all round, yet plenty of warmth and accessibility (unlike a lot of hyper-technical albums), this is a release that has the potential to appeal to anyone who loves good music and does not care about sticking a label on anything they hear. Judging from the positive reactions to this album, Marbin are definitely going to be another asset for the ever-reliable MoonJune Records.

Links:
http://www.marbinmusic.com

http://www.moonjune.com

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Boris Savoldelli – Biocosmopolitan (2011)

Posted in Fusion, Jazz, Jazz-Rock, Review, tagged , , , , , , , , on April 21, 2011| 1 Comment »


TRACKLISTING:
1. Aria (2:09)
2. Biocosmopolitan (3:36)
3. Concrete Clima (4:26)
4. The Discordia (3:42)
5. Kerouac in New York City (3:13)
6. Is Difficult to Fly Without Whisky (3:26)
7. Dandy Dog (2:12)
8. Danny Is a Man Now (1:42)
9. Biocosmo (3:39)
10. Lovecity (2:47)
11. Springstorm (3:21)
12. The Miss Kiss (2:57)
13. My Barry Lindon (1:28)
14. Closin’ Theme (2:32)
15. Crosstown Traffic (bonus track) (4:03)
16. Biocosmo (English version – bonus track) (4:14)

Bonus video:
The Miss Kiss

LINEUP:
Boris Savoldelli – all vocals and vocal instruments, piano (9, 16)

With:
Jimmy Haslip – bass (2)
Paolo Fresu – trumpet, flugelhorn (3, 5)

At a first glance, Boris Savoldelli’s second solo album does not spell ‘progressive rock’. With 14 songs (plus two bonus tracks) between 1 and 4 minutes in length, and a rather minimalistic instrumental accompaniment, Biocosmopolitan looks light years away from the lushly orchestrated productions of the flag-bearers of the genre. Moreover, even if the output of New York-based MoonJune Records (one of the few authentically forward-thinking labels in the business) is frequently placed under the used-and-abused ‘prog’ umbrella, this album displays a somewhat different approach to music-making, one that tries to offers something genuinely original rather than a more or less successful replica of Seventies modes.

My first encounter with Boris Savoldelli’s music dates back from 2009, when I reviewed his solo debut, Insanology – an album that impressed me for its unique blend of elegance and uncontrived cheerfulness. It was one of those truly enjoyable discs whose apparent simplicity reveals layers of complexity with every successive listen. It is, however, not the complexity for its own sake that can be sometimes encountered in ‘standard’ progressive rock, but is rather achieved with a lightness of  touch, a kind of consummate subtlety that is all too rare on the modern music scene – all accomplished with one main instrument, Savoldelli’s voice, a veritable one-man-orchestra of stunning versatility that has been compared to luminaries like Bobby McFerrin or Demetrio Stratos.

Indeed, Boris Savoldelli is much more than an ordinary singer – to quote our fellow Italians PFM, he is a real maestro della voce, a master of the art of shaping his voice in ways that would sound impossible to most people, replacing most of the conventional instrumentation used in jazz and rock with an array of awe-inspiring effects whose apparently effortless nature belie the years of hard work behind it all. While most of the songs, which blend traditional and unconventional features, have a similar structure – where two or more vocal lines (both percussive and harmonic) intersect and spar with each other – as a whole Biocosmopolitan does not sound monotonous or repetitive. In my view, his unique handling of the linguistic aspects is probably the single most important factor for the album’s success. English and Italian intermingle with astounding naturalness (while on most other albums a mix of languages would sound contrived) that lends the album a truly cosmopolitan feel – with devices such as alliteration and assonance used to bolster the musical content, creating intriguing rhythms and textures.

In the four years between Insanology and Biocosmopolitan, Boris Savoldelli has been quite busy, though on a more decidedly experimental level – releasing the album Protoplasmic in collaboration with Elliott Sharp, as well as three albums with avant-garde outfit S.A.D.O. While Insanology saw the presence of veteran jazz guitarist Marc Ribot on two tracks, this time Savoldelli avails himself of the collaboration of two outstanding musicians – renowned Italian trumpeter Paolo Fresu, and bassist Jimmy Haslip (of Yellowjackets fame). Haslip’s bass adds depth and interest to the title-track, complementing Savoldelli’s bluesy vocals in a song that is much more complex than it short running time would suggest. Fresu’s wistful-sounding trumpet punctuates the cheery, infectious repetition of the line “the corner is dirty” in the pause-laden “Concrete Clima” (the longest track on the album at slightly over 4 minutes), and its sudden bursts of sounds enrich the fabric of the bright, endearingly nonsensical “Kerouac in New York”.

Most of the songs share the same sunny, upbeat nature and exude a genuine sense of warmth, reminding the listener of exotic vocal styles or of the sensuality of Latin rhythms, combining modernity and a charming retro feel (most evident in the Fifties’ doo-wop style of the hugely entertaining “The Miss Kiss”). Boris’s voice ranges from gritty, passionate blues tones to elegant, jazzy smoothness, infused with a genuine sense of humour and enjoyment. The only number that clearly differs from the rest is the melancholy ballad “Biocosmo”, a slow-burner (also present as a bonus track with English-language vocals) accompanied by piano and ending with solemn, choir-like chanting and distant clinking sounds, which one can almost imagine Savoldelli performing in the semi-darkness of a smoky night club. The album is then wrapped up, in cinematic fashion,  by two humorous complementary pieces, “My Barry Lindon “ – basically a series of ‘thank you’, handclaps and assorted sounds with occasional vocal harmonies thrown in – and “Closin’ Theme”, where a voice recites the album’s credits in English with mock seriousness. The second bonus track, a cover of Jimi Hendrix’s “Crosstown Traffic”(already included on Insanology), is the closest the album goes to traditional rock, with Savoldelli offering a more than credible performance as a hard rock vocalist.

Biocosmopolitan is one of those rare albums that are potentially appealing to all music lovers, regardless of genres and labels – though it might disappoint those who require songs to be over 10 minutes in length, or object to the lack of ‘proper’ instruments, or even shun any kind of music that is not dead serious or just plain depressing. Progressive without necessarily being ‘prog’, entertaining and at times even exhilarating, Biocosmopolitan is an ideal showcase for the amazing vocal and compositional talents of an artist whose work proves that impeccably performed music can also be fun.

Links:
http://www.borisinger.eu

http://www.moonjune.com

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