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Posts Tagged ‘Pat Mastelotto’

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TRACKLISTING:
1. Oxymoron (2:45)
2. Flow (2:09)
3. Unsettled (2:45)
4. The Other Side (3:30)
5. The Ascent (2:31)
6. Coulrophobia (3:24)
7. Lucid (2:46)
8. KEA (2:24)
9. Street and Circus (4:56)
10. The Bridge (11:49)
11. A Boy (2:50)

LINEUP:
Matt Stevens – guitars, loops

With:
Stuart Marshall – drums (1, 3, 4, 7, 9, 10)
Pat Mastelotto – drums (5)
Lorenzo Feliciati– bass (5)
Charlie Cawood – bass (1, 3, 4, 10), pipa (4)
Kev Feazey – bass (7), percussion (10), programming (2)
Jem Godfrey – keyboards (4)
Emmett Elvin – keyboards (6)
Chrissie Caulfield – violin (1, 10)
Jon Hart – vibraphone (6)
Nicholas Wyatt Duke – spoken word (10)

In the past few years, London-based guitarist and composer Matt Stevens has become one of the most prolific and intriguing figures on the variegated progressive rock scene. Active both as a solo artist and with his band The Fierce And The Dead, he has also appeared on albums of other notable British outfits, such as Cosmograf and Nine Stones Close. Lucid, his fourth studio album, released on Esoteric Antenna in March 2014, was the result of three years of work, and was developed during what Stevens openly admitted was a dark time in his life.

While committed to the progressive rock cause, and therefore not at all reluctant to be labeled as a prog artist, Stevens is also an omnivorous listener, whose musical interests range from “pronk” icons The Cardiacs to extreme metal by way of King Crimson, Nick Drake and Neil Young. This open-minded attitude is reflected in his music, based on acoustic guitar and live loops – a veritable “guitar orchestra” – which has been performed all over Great Britain.

For a first-time listener, one of the most surprising (and refreshing) aspects of Lucid is that Stevens manages to create energetic, often hard-edged music with an instrument that, in popular imagination, is associated more with folk or singer-songwriters than rock. Enriched by the contribution of guest musicians from some of Britain’s most interesting modern progressive outfits (including his The Fierce and The Dead partners, drummer Stuart Marshall and bassist Kev Feazey, who is also the album’s producer), the album is a tightly composed effort that also allows Stevens to explore new territory, while refining and maturing the style he had already showcased in his previous releases.

With most tracks between two and five minutes (for an overall running time of around 42 minutes), Lucid runs counter to the stereotypical prog trend of long, rambling compositions. Though King Crimson will inevitably come to mind on more than one occasion, Stevens’ manifold influences are brought to bear, and an almost punk attitude emerges, especially in the more upfront pieces such as opener “Oxymoron”, which barges in assertively, blending energy and a quirky sense of melody. The spirit of Fripp’s trailblazing crew is never far, and the participation of drummer Pat Mastelotto on the powerful yet hypnotic “The Ascent” reinforces the connection. On this particular track, Stevens pulls out all the stops, sparring with Mastelotto and renowned bassist Lorenzo Feliciati in a crescendo of intensity only marginally tempered by Jem Godfrey’s keyboards. In a very similar vein, “Unsettled” foregrounds the angular interplay of guitar and drums, then the guitar takes the lead forcefully with an almost howling tone.

Other tracks emphasize the atmospheric component of Stevens’ compositional vein, though never stinting on the aggression whenever necessary. The spacious texture and juxtaposition of gentleness and almost industrial edginess of “Flow” reminded me of Herd of Instinct, as did the subdued, ethnic-tinged “The Other Side”, to which Knifeworld bassist Charlie Cawood contributes the lilting sound of the Chinese pipa. More Eastern suggestions surface in the beautiful yet vaguely ominous “Coulrophobia” (fear of clowns), John Hart’s crystalline vibraphone and Guapo’s Emmett Elvin’s subtle keyboards perfectly complementing Stevens’ chiming guitar.

“Street and Circus”, a slow and evocative duet between Stevens and Stuart Marshall’s measured drums, at times leaving the guitar to emote on its own, provides a fitting introduction to the album’s unexpected pièce de resistance – an almost 12-minute masterpiece of ambiance and shifting moods titled “The Bridge”. Ominous guitar riffs develop into an almost Sabbathian plod, then sustained lead guitar and Chrissie Caulfield’s violin weave an eerie, ethereal atmosphere with a sense of tension lurking beneath the apparent gentleness. Towards the end, Stevens’ guitar surges in a wailing tone, leading to a cinematic ending that, once again, put me in mind of Herd of Instinct’s most ambitious compositions. The album’s wrap-up comes in apparently anticlimactic fashion, with the soothing, melancholy melody of the sparse “A Boy” – a companion piece to the fluid elegance of “KEA”, showcasing Stevens’ skillful use of acoustic loops.

A big step forward in Matt Stevens’ career as a musician, composer and performer, Lucid is a masterful example of instrumental progressive rock with a contemporary attitude and a healthy respect for the genre’s glorious past. Because of his dedication to his craft and fiercely independent spirit, Stevens has become an example to follow for many non-mainstream musicians, and the sound advice laid out in his blog makes essential reading for anyone venturing into the troubled waters of progressive music-making. In any case, Lucid is essential listening for anyone keen to explore innovative approaches to guitar playing, as well as fans of the King Crimson school of prog.

Links:
http://www.mattstevensguitar.com/
http://mattstevens.bandcamp.com/album/lucid
http://mattstevensguitar.blogspot.com/
http://www.esotericrecordings.com/antenna.html

 

 

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SETLIST:
Vroom Vroom
Smudge
Relentless
Slowglide
Cusp
Breathless
Open Pt. 3
Larks’ Tongues in Aspic Pt. II
Firebird Suite Pt. 1-4
Indiscipline
Red

Jammin’ Java, the quaint coffee house/bar doubling up as music venue located in the charming neighbourhood of Vienna, in the Washington DC metro area, seems to have become a firm favourite with Tony Levin and his Stick Men bandmates, Pat Mastelotto and Markus Reuter – even though the Boston-born bass/Chapman stick wizard must be used to much larger, flashier venues. Judging by his happy demeanour, Levin seems to have a soft spot for the place (as does his friend and former King Crimson partner, Adrian Belew) – even when, as in this case, the gig involves some considerable juggling.  Indeed, the April 27 date (following the triumphant, sold-out appearance by Two of a Perfect Trio in September 2011) had been rather oddly sandwiched between a date in Connecticut and one in upstate New York – forcing the band to cut their show rather shorter than usual to allow them to hit the road in good time.

The screen at the back of the stage proudly displayed the banner of the DC Society of Art Rock (DC-SOAR), a group that for the past few years has been quite active in promoting progressive music in the Washington/Baltimore area . Unfortunately, attendance was not what such a relatively high-profile outfit would usually command, and the long, dimly lit space before the stage was nowhere as crowded as it might have been in different circumstances. Indeed, having a concert start at 7.30 on a Friday night in a high-traffic area is quite likely to keep away quite a few prospective attendees.  Though all of the 25 VIP tickets had been sold, they were not really worth the extra $15, as the only advantage they gave was to be able to get inside early and listen to the soundcheck while partaking of food or drink in the Lobby Bar. The VIP seating area was also quite cramped, while the tables and seats that had been arranged in the general admission area were much more comfortable, and allowed a great view of the stage. Luckily, as I observed in my review of the Two of a Perfect Trio gig, the ear-shattering volume that had characterized my first two visits to the venue in 2009 has been toned down, so that people will not find themselves stunned by the sheer impact of an almost physical wall of sound.

For those who are still pining about the demise of King Crimson (at least in terms of live performances), bands like Stick Men are a godsend, as they retain all the energy and complexity of the original, coupled with a much more open, friendly attitude towards their audience. Although I have never seen Mr Fripp in action, I am well aware of his inflexible stance about taking pictures during concerts – which was replicated by Eddie Jobson’s Ultimate Zero Project at NEARfest 2010 (much to the dismay of the audience). Seeing Levin, Mastelotto and Reuter smile and wave at the fans, take pictures of the audience at the end of the concert, take some time to chat with the fans, and generally enjoy themselves on stage – all the while retaining a thoroughly professional attitude – was incredibly refreshing, and a boon to everyone who had bought a ticket in spite of the inconvenient scheduling of the gig.

In spite of the time constraints, Stick Men produced a richly satisfying setlist, expanded from their September performance, and including enough King Crimson material to please the more nostalgic component of the crowd. However, their own compositions definitely stand up to comparisons with the “mother band”, following in its footsteps while avoiding the clone-like feel that occasionally mars the output of celebrated acts’ side projects. While highly proficient in the technical department, Stick Men’s music is powerful, muscular and strikingly modern –  the endless range of expressive possibilities offered by two polyphonic instruments such as the Chapman stick and Reuter’s custom-made touch guitar (a glossy red number deceptively looking like a traditional guitar) supported by Mastelotto’s rhythmic powerhouse.

In spite of their extensive touring schedule, Stich Men are busy working on their new album, which is slated for a fall release. In the meantime, they have been writing other material: Levin jokingly stated that they had written an album last Friday, and the audience was treated to one of those new pieces, titled “Open Pt. 3”. All the original compositions were very strong, ranging from the evenly paced, atmospheric “Slowglide” (featuring Levin on vocals, and an entrancing, effects-laden middle section) to the aptly titled “Relentless”, a hard-hitting piece reminiscent of King Crimson’s late ‘90s incarnation.

As could be expected, however, it was the King Crimson stuff that drew the most applause. Classics like “Red” and “Larks’ Tongues in Aspic Pt II” were rendered in a heavier, though perhaps less subtle fashion, proving once again the essential role played by King Crimson in the development of progressive metal. Reuter filled Fripp’s role with aplomb, and Levin’s Chapman stick was all over the place, aided and abetted by Mastelotto’s unflagging beat. A particularly intense version of “Indiscipline”, with a slo-mo, drawn-out introduction and Levin doing a decent Belew impersonation, was one of the undisputed highlights of the show, together with the stunning “Firebird Suite (Pt. 1-4)”. Mastelotto’s imperious drumming paralleled Stravinsky’s trademark percussive firepower, while Levin and Reuter seamlessly worked their way through the intricate orchestral arrangements, debunking the myth that banks of keyboards are indispensable to any reinterpretation of great classical music.

In a few months, those who missed out on Friday’s gig will be able to see Stick Men perform again with Adrian Belew’s Power Trio (under the handle of Crimson ProjecKct), when they open for Dream Theater on their Washington DC date (July 13, Warner Theatre). Levin’s former partnership with John Petrucci, Mike Portnoy and Jordan Rudess in Liquid Tension Experiment should be enough to explain this apparently odd pairing. It is to be hoped that this slot on a much longer and higher-profile tour will create more interest in Stick Men’s own original material, which deserves all the exposure it can get.

Links:
http://www.papabear.com/

http://www.dc-soar.org/

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A few months ago, fans of King Crimson had reason to rejoice when the amusingly-named Two of a Perfect Trio tour was announced – an extensive North American tour that would feature Adrian Belew and Tony Levin with their respective bands, Adrian Belew’s Power Trio (AB3 for short) and Stick Men. Many of those fans (including myself) had been waiting in vain for a full-fledged 40th anniversary tour, and in 2009 news of its cancellation had caused widespread consternation among the ranks of those who had been unable to attend any of the four 2008 concerts. Even if the release of A Scarcity of Miracles earlier this year brought some respite to the starved Crimson fans, the lack of live action and the uncertainty about the future of the band were discouraging to say the least.

Not surprisingly, about a week before the event, tickets for the date in the Washington DC metro area were already sold out . While other dates of the tour had been booked in medium-sized theatres, the DC gig was slated to take place at a rather unlikely venue, considering the relative fame of the artists involved. In fact, the Jammin’ Java  (as its name suggests) is a café/bar that doubles up as a music club with a regular schedule of evening concerts. Incidentally, Adrian Belew’s Power Trio had performed there in the summer of 2009 (a week or so after the near-legendary performance of Eddie Jobson’s U-Z with Marco Minnemann, Simon Phillips, Greg Howe and Trey Gunn), so the venue was a known quantity at least to one of the artists involved.

Anyway, though rather unconventional and far from capacious, the Jammin’ Java is very conveniently situated for anyone living in the DC metro area, and also quite pleasant and full of character – even if the dim, cellar-like lighting does not allow for a lot of social interaction. For the occasion, though, the venue had been redesigned in order to allow as many people inside as possible: the seating had been removed, with the exception of the small, fenced “VIP area” and the bar benches at the entrance for those who were partaking of food bought on the premises. On my two previous visits to the club, the volume of the music had approached eardrum-shattering proportions; this time around, however, the sound system operated at a manageable decibel level, rendering the use of earplugs unnecessary even when standing very close to the stage. To be perfectly honest, I would have enjoyed the concert even more if I had been able to sit down, but the music was so incredibly good (and plentiful) that even the mild discomfort of having to stand up was considerably lessened.

The morning before the concert, as a warm-up, my husband and I had played the complete “red-blue-yellow” trilogy, and were expecting  an evening to remember, encouraged by some of the comments already available on the Internet. However, the concert exceeded those expectations, with nearly three hours of incredible music and a very warm, friendly atmosphere – and that in spite of its rather stripped-down nature. With no gimmicks or special effects besides a few well-placed lights, the two trios relied only on their considerable experience and creativity – letting the music do the talking, as clichéd as it may sound.

Though the music associated with King Crimson projects an aura of intellectualism and near-unapproachability, and is often indicted of being very “masculine”, lacking the necessary melodic quotient to attract women, there was quite a fair number of ladies crowding around the stage, and none of them appeared to be suffering. Personally, I believe that melody is a very important component of music, and do not generally enjoy “noise” for its own sake. However, King Crimson and its related projects simply transcend any specious conflict between  “accessible” and “difficult” progressive rock. Indeed,  the concert proved once again that King Crimson’s music possesses a freshness and cutting-edge appeal that have not been dimmed one whit by time. Not surprisingly, the music of both trios is indebted to the “mother band”, though not in an overtly derivative way, but rather as a form of development. I firmly believe that, while it is perfectly feasible to sound identical to Yes or Genesis (check the latest Wobbler album for confirmation), sounding exactly like King Crimson is next to impossible – due to the fluid, ever-evolving nature of the band’s musical output.

The concert was opened by Tony Levin’s Stick Men, introducing their new member Markus Reuter, who had replaced Michael Bernier earlier this year. Levin’s warm, gracious interaction with the enthusiastic crowd subtly complemented the sheer intensity of the music – as did his vocals, definitely not “beautiful” in any conventional sense, but still an oddly successful fit for the  band’s sound. Alongside tracks from his 2007  solo album Stick Man and the trio’s latest release, Soup, Levin surprised the audience with a blistering version of “VROOM” that  anticipated what would happen in the last half an hour or so of the show. The trio’s astonishing rendition of Stravinsky’s Firebird suite proved once again progressive rock’s affinity for the works of the great Russian composer; while the rap intro and funky suggestions of  “Soup” were also warmly greeted by an audience clearly more open to all sorts of contaminations than the average fan of traditional prog. Markus Reuter, his serious mien occasionally softened by a friendly smile, with his touch guitar (designed and built by himself) offered a perfect foil for Levin’s acrobatic excursions on the Chapman stick – which included using a bow, Jimmy Page-style, as well as his famed “funk fingers”. With the supreme ease and confidence born of a long partnership, Pat Mastelotto provided an impeccable backbeat, meshing with the riveting patterns woven by the two string instruments, and creating textures of astounding beauty.

After a short break, Adrian Belew and his cohorts – Julie Slick on bass and Tobias Ralph (who had replaced Julie’s brother, Eric) on drums – took to the stage for some more humour-laced mayhem. Belew, ever the genial host, looked in excellent shape, his voice still capable of delivering the goods with confidence and flair, while the instrumental firepower unleashed by the three musicians was quite awe-inspiring.  In some ways, AB3’s music has an even sharper edge than Stick Men’s, as amply proved by the almost 10 minutes of  e, the title-track of the trio’s latest recording effort. Adrian’s twangy, trebly guitar tone, like his voice, may be an acquired taste, but makes for a gripping listening experience, especially when assisted by such an impeccable rhythm section – redefining the old warhorse of the power trio in thoroughly modern terms. As far as I am concerned, however, the real focal point of the trio’s performance was Julie Slick, a monster bassist with an uncanny sense of rhythm, perfectly integrating with Tobias Ralph’s powerful yet restrained drumming– and a refreshing example of a new generation of women artists who are in the business of making great music rather than flaunting their physical charms. Though a very attractive young woman, with her bare feet and mop of curly hair, Julie is a musician first and foremost, who amply deserves all the respect due to any musician as skilled and dedicated as she is.

And then it was time for the “extended Crim-centric encore” everyone in the audience had been waiting for. Though I am usually a bit harsh on people whom I perceive as “living in the past” – failing thus to appreciate the excellent music put out by modern acts – I will proudly admit to not practicing what I preach when it comes to anything King Crimson-related. Having never been so lucky as to see them perform live (when they played in Rome in 2003 I had to give the concert a miss because I was not feeling well), this was the closest I had got to “real” Crimson live action. Moreover, unlike some more conservative proggers, I am a staunch fan of the Eighties trilogy, and Discipline ranks as one of my all-time favourite albums –  so I was understandably stoked at the very idea of witnessing a live performance of some of those classic songs.

The third part of the show began with only the three tenured KC members on stage, effortlessly running through the funky pace and engagingly nonsensical vocals of “Elephant Talk” (in which the influence of Talking Heads’ take on afrobeat was hard to miss) and the more laid-back strains of “Three of a Perfect Pair”. When the trio was joined by Reuter, the audience was treated to a barnstorming rendition of the iconic “Red”, beefed up by the distinctive contribution of the touch guitar. The infectious “Dinosaur” and the angular “Frame by Frame” had the crowd eating out of the two combined trio’s hands; while  the eerie soundscapes and double-drum spot of “B’Boom” (the latter reminding me of Simon Phillips and Marco Minnemann’s drum duel during the Eddie Jobson set in 2009) and the soothing, almost seductive “One Time” laid the groundwork for the show’s white-hot climax.

Though women are not generally expected to like such stuff, “Indiscipline” ranks as one of my all-time favourite King Crimson tracks, so you can imagine my delight when I heard Levin (assisted by Slick and Reuter) sketch the song’s unmistakable intro – this time stretched into an almost unbearable build-up of tension and false starts, then exploding into a maelstrom of slashing, wailing guitar. Heavier than the heaviest metal, and totally mind-blowing, the song oozed with the pure beauty of chaos. After briefly bowing out, leaving the audience wrung out but deliriously happy, the two bands came back on stage and got everyone to dance and sing along with the irrestistible “Thela Hun Ginjeet”. Who said you cannot dance at a prog gig?

If I wanted to nitpick, I might say that I missed some of my favourites – particularly “Level Five” and “Sleepless” with its killer bass line – but I suppose that, after such a performance, quibbling would sound a bit excessive. Almost three hours of music at that level of quality and intensity are anything but an everyday occurrence, and the two trios delivered everything their dedicated fans were expecting – and then some. They made music written over 30 years ago sound as fresh and relevant as if it had been released today, reaffirming King Crimson’s essential role in the continuing evolution of progressive rock.

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TRACKLISTING:

1. Transformation (2.01)
2. Room Without Shadows (4.49)
3. Road To Asheville (5.40)
4. Hex (4.35)
5. Blood Sky (5.01)
6. Anamnesis (5.50)
7. Vibrissa (4.47)
8. Possession (4.22)
9. S. Karma (4.43)
10. The Face Of Another (4.20)

LINEUP:
Mark Cook – Warr guitar, fretless bass, fretless guitar, ebow, synth, acoustic and nylon string guitars, chunk guitar, programming, synth treatments, loops, keyboards
Mike Davison – guitars, guitar synth, nylon string guitar, sitar
Jason Spradlin – drums, marimba, camel bells, low synth drone

With:
Gayle Ellett – mellotron (5), guitar (5, 6, 7), upright bass, bouzouki (7)
Bob Fisher – flute (3, 9)
Gavin Harrison – drums (7, 8 )
Jerry Marotta – drums, percussion (5)
Pat Mastelotto – drums, electronics, percussion (6)
Martin McCall – percussion (3)
Mike McGary – keyboards, additional synth treatments (7)
Markus Reuter – touch guitar, guitar, loops (6, 8 )
Dave Streett – Warr guitar (3, 5), bass guitar (6, 7, 10)
Kris Swenson – vocals (5), vocal samples (8)

A trio of musicians based in Arlington (Texas), Herd of Instinct are one of the hottest new names on the vast progressive rock scene. The band was formed in 2007 by guitarist Mark Cook and drummer Jason Spradlin after the demise of their previous band, 99 Names of God, and started work on their self-titled debut immediately after the addtion of guitarist Mike Davison. The album, finally released in May 2011 on Djam Karet’s new label, Firepool Record, sees the collaboration of an impressive roster of guest musicians, including Djam Karet’s Gayle Ellett, German guitarist and composer Markus Reuter, and celebrated drummers Gavin Harrison, Jerry Marotta and Pat Mastelotto.

The connection with Djam Karet, one of the few genuine cult bands on the whole progressive rock scene, undoubtedly creates expectations of intricate yet dynamic instrumental music – and this is exactly what Herd of Instinct offer in their debut (in spite of the presence of one track with vocals). Instrumental prog bands are often outstanding, and also tend to branch out far more than bands that prominently feature vocals. In a way, the instrumental dimension, fuelling the eclecticism that is an essential component of truly progressive music, allows musicians to explore avenues that sometimes are limited by the presence of a singer, and experiment with different aspects of sound (including pauses of silence) and the creation of a wide range of moods.

Gloriously omnivorous and unabashedly bold, Herd of Instinct stake their claim on the territory where King Crimson held sway for 35 years. Even if Fripp has made a comeback of sorts in very recent times with the excellent A Scarcity of Miracles, Herd of Instinct’s debut brings back memories of state-of-the-art instrumental masterpieces such as “Larks’ Tongues in Aspic”, “Fracture” or “The Sheltering Sky”-  a towering, multilayered achievement marrying flawless technical skill with a healthy dose of emotion, a feast of haunting soundscapes and jagged rhythms that seems to epitomize the very idea of progressiveness.

Clocking in at about 48 minutes, Herd of Instinct features 10 relatively short tracks that are nevertheless packed with changes in tempo and mood, striking an admirable balance between edginess, melody and atmosphere “Transformation” introduces the album in brooding, highly cinematic fashion, with pounding drums and piano, ominously surging keyboard waves and tinkling bells. With the following track, “Room Without Shadows”, things take a decidedly heavier turn, the spacious orchestral effects already featured in the previous number blending with borderline metal riffing, and a stunning guitar solo that would not be out of place on an album like Starless and Bible Black. The gorgeously muted, Eastern-tinged opening to “Road to Asheville”, with its haunting flute, sitar and ethnic percussion, suddenly shifts into a crushingly heavy, riff-driven passage, ending on a mournful note with slow, acoustic guitar chords: while the aptly-titled “Hex” (the perfect soundtrack for some horror movie) opens with eerie electronic effects and then, slowly but inexorably, gains intensity, with crashing cymbals and spiky riffing opening in a marvellous guitar solo. “Anamnesis” is very much in a similar vein, a veritable feast for guitar lovers fuelled by spectacular drum work (courtesy of King Crimson’s very own Pat Mastelotto), with loops and other electronic effects depicting a richly emotional soundscape.

“Blood Sky”, the only track featuring vocals, is one of the undisputed highlights of the album, a haunting showcase for the husky, understated vocals of former 99 Names of God singer Kris Swenson. Mellotron and marimba add subtle atmospheric layers to the spectacular guitar interplay, fleshed out by stunning percussion patterns.”Vibrissa” and “Possession” pursue a similar route, the former slow and measured, with interlocking guitar lines and soloing alternating between wildness and melody; the latter sparse and percussion-driven, with understated guitar work enhanced by snippets of wailing vocal samples. On “S. Karma”, the echoing, almost liquid sound of Mike Cook’s Warr guitar comes into its own, offset by an uncharacteristically aggressive flute solo that seems to mimic the heavy riffing. Closing track “The Face of Another” presents a basic power trio configuration assisted by electronics that provide a range of interesting effects as a background for Cook’s splendid guitar excursions – like a 21st-century take on King Crimson’s iconic “Discipline”.

Herd of Instinct is one of those rare debut albums that are practically perfect in every respect, and need no suggestions for further improvement. An absolute must for fans of King Crimson, it will delight devotees of complex, hard-edged yet atmospheric prog, and those who are somewhat weary of technically competent bands that are sorely lacking in the originality department. With outstanding (though slightly disturbing) cover artwork and photography,  as well as excellent production by guest bassist/Warr guitarist Dave Streett, Herd of Instinct can be hailed as a serious contender for best release of 2011.

Links:
http://www.wix.com/herdofinstinct/herdofinstinct

http://www.myspace.com/herdofinstinctband

http://www.cdbaby.com/Artist/HerdofInstinct

http://www.djamkaret.com/disc-fr001.php

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 Even though California-born guitarist and composer Willie Oteri may not be a household name for most prog fans, over the almost 30 years of his career he has built quite a reputation among followers of experimental music. Currently based in Austin (TX), Oteri is one of the members of duo WD-41, together with trumpeter Dave Laczko. The duo will head to Italy in mid-July, where they are scheduled to perform at the Portello River Festival in Padova and a couple of other similar events. They are also planning to hold some concerts and jams in the houses of fellow musicians and fans of progressive music.

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Since many of the habitual visitors of prog sites are not familiar with your career, I guess we should start with a couple of rather trivial questions… Such as, how did you start playing your instruments, and what made you choose those particular instruments rather than others?

 Willie: I started out as a singer. At the age of 4 I whistled and sang everything I heard at home or on the radio. I also repaired an old record player, also when 4, on which I listened to a variety of music. At 7 I wanted to be a jazz singer like Dean Martin or Sinatra and only dabbled on instruments like violin or piano because they were in our house, my mother was a violinist who was in symphonies in her teens but gave it up for several reasons mainly to raise three children. I never really thought about much beyond singing. I had a cheap electric guitar around the age of 12, but I never really enjoyed it. I wanted a sax but my parents could not afford a good one. In my late teens I started playing bass so I could get into bands and I was the lead singer in couple of bands.  I also took up flute at that time since my sister had one she never used. Later in my twenties a friend convinced me to try pedal steel guitar so I could play in a country rock band he was starting. I played pedal steel for many years, in some situations you would never think of finding that sound and started dabbling on guitar but I was not real serious about guitar until the late ‘90s after coming back to professional playing from nearly a decade off. I was living on a sailboat at the time and guitar just made sense as a portable way to compose tunes. I’m not real sure I’m in love with guitar, I’m indifferent to it for many reasons, mostly from what I see as design flaws but I do truly love some of what can be done with a guitar. The sounds I hear in my head can often be made on a guitar. It seems to be working out for me.

Dave: In public school, we had a night where they had a bunch of instruments in the cafeteria  and my Mom let me pick an instrument to play in the band.  I immediately picked drums, but my Mom said, “I am not getting you drums!  Don’t get anything too heavy!”  I was disappointed, but I picked trumpet right away because I really liked Herb Alpert records.  He was so cool and jazzy and he had women hanging all over him.  I knew that was for me.

What can you say about your approach to your respective instruments? Do you see yourselves as musicians that transcend the usual labels of rock, jazz, avant-garde and such? And if so, how?

Willie:  A friend of mine, Italian guitarist Enrico Crivellaro, once said, “I just do what I do”. That pretty much covers it in my book also. I just do it without much thought of if it’s going to fit a genre label or two. I love improvisation and what is known to some as Total Improvisation but I don’t mind having things worked out.  My last four releases have been made by asking others if they wanted to jam and record it. That’s how I did Concepts of MateMaToot, Spiral Out and both WD-41 releases, just asking musicians if they want to jam. For Concepts of MateMaToot and Spiral Out there were some basic patterns to work from for a few tunes but for most of it and both WD-41 albums it’s just music that happens. I’m also working on arrangements for a more structured solo album down the road and perhaps a symphony based on ideas from WD-41 sounds.

Dave: To be honest, I’m only interested in transcending what I or Willie played last week. While I understand their usefulness, labels are generally for describing music, not playing it, so yes, I think our music goes  beyond a single category.  I notice that WD-41 is linked to at least 4 categories on your blog?  Not bad!  WD-41 is deliberate only in our attempt to play something totally spontaneous, inspiring and fun every time.  It’s improvised—that’s about all I can say!

As you know, the sites I write for generally deal with ‘progressive rock’ in all its various manifestations. What is your personal view of this somewhat controversial genre? Do you see WD-41 as belonging to a ‘prog’ context, or would you rather be identified as a jazz project?

 Willie: If a listener thinks we are progressive and wants to label us as such that’s fine. I like a lot of what is labeled progressive and a lot of it just does nothing for me. That’s how we all are. WD-41 got tossed into a lot of publications that deal with the progressive label because our publicist Lori Hehr deals mostly in that area. We also seem to do well inwhat is labeled the jazz arena (laughs), but I don’t really care what people call it. Just open your minds and listen.

Dave: I don’t have a problem with either genre being associated with WD-41. The fact that we are both electrified and 100% improvised with no specific rhythmic component makes me lean towards the prog side of the debate if I have to choose! I’m honored that either genre would have us, but even contextually I’d rather best be described in seven categories rather than one. I enjoy reading descriptions of WD-41 in the press, so call it what it sounds like, Raffaella! That’s part of the fun, isn’t it?

Even though we have been in touch for a while, I do not know how Willie and Dave first met and decided to join forces. How did WD-41 come about, and what does the ‘41’ stand for?

Willie: I’ll let Dave have this one.

Dave: A mutual friend (N.W. Austin, the artist who painted our cover art) told me that Willie Oteri might be moving to Austin and that I should look for him.  I’d heard a tape of his and was very impressed.  He was playing with Jazz Gunn and I was in a local swing band, playing 30’s and 40’s tunes.  We hung out some.  He told me about recording the Spiral Out CD, then he was gone to Europe.  When he came back from Italy, we were catching up and I asked him what was next muscally for him and he said, “I want to do something with loops.”  I said, “Wow, that sounds fun—can I play too?”  He had never heard me play before and when we got together the next afternoon, we knew we had something!  That’s how we began –  with no preconceived ideas.  We just sat across from each other and played.  We discovered that our approaches to music are very similar.  Our ears are open for what’s possible in the moment.  Also, we like a lot of the same movies and I think this adds a subtlety and some humor to what we do.

41 is one more than 40, that’s all I can tell you.  No need to get Interpol involved right now.

Dave, as most of my readers will probably not be very familiar with you, can you tell me something about your own musical career?

Dave: I guess my career started in 1980 when I joined a big band that played around Austin and was relatively successful in the 80s and 90’s.  Most of Austin’s best jazz musicians came through that band so I got to meet everybody.  That’s where I met Mel Winters, a flugelhorn soloist who had decided to switch to piano.  In ’87, I started playing bass on keyboards with him and we formed the Fearless Jazz Trio, which later became a duo of just Mel and me.  He is a prolific composer and an intense and thoughtful player, who sees chords and how they fit together in a way that is another universe.  He is probably the biggest influence on me musically (before I met Mr. Oteri!) and really pushed me to go for it.  He liked my ear and continues to encourage me to play what I hear.  It was “keep up or be left behind,” so I developed a way to be a more rhythmically interesting bass player in a drumless duo.  We have rehearsed on and off for over 30 years with only one gig!  Seriously… it’s still fun most of the time. Haha!  I do believe playing with Mel all these years got me ready to play with Willie.  Around 1998 or 1999 I helped start a local swing band that played around Austin for a couple of years.  I’m into a lot of different styles and I think early jazz is fascinating and fun.  That’s a completely different mindset than what I’m doing now with WD-41.  Who knew?

I always have a day job. I worked for Tower Records as a buyer during their stay in Austin (1991-2004) and I had a pretty cool jazz radio show for 13 years which was actually at night.

I have been so lucky as to hear Willie’s wonderful Spiral Out album, recorded with Tony Levin and Pat Mastelotto. How did this collaboration come about? Would you consider working with either of those artists again in the future, perhaps involving Dave as well?

Willie: I had just finished the Jazz Gunn album Concepts of  MateMaToot, which I produced and wanted to go beyond that by using another producer. I put out feelers in a few internet forums and one of the producers that contacted me was Ronan Chris Murphy who had worked with a wide variety of names from King Crimson to Chucho Valdés. After chatting with him on the phone I decided to fly to LA to meet in person and we immediately hit it off and started working on pre-production. While we were jamming a bit on ideas I sort of jokingly said something like, “Tony Levin would sound great on this” and Ronan said, “I can get Tony”. He went out in the parking lot and called Tony and arranged for us to send some him some ideas. I don’t remember if Tony agreed to the project before or after hearing the ideas but then we were off to finding drummers, we went through a few ideas and then decided Pat Mastelotto would be the best fit. Pat and I both live in Austin so it was easy to arrange to record there. Tony flew out from NY and the three of us just jammed for two days. On the second day we called trumpet man Ephraim Owens to add to some of the raw tracks and then while mixing in LA Ronan thought some keys would be good so he called Mike Keneally who drove up from San Diego. It all just sort of fell into being. I love all those guys and have done a few gigs with Tony, Ronan and Pat since. We chat now and then about doing another recording but it’s mostly about money and time. I would love to do another and Dave would be first choice for trumpet.

Dave: Willie knows I’d love to play with any of those guys any time and we talked about it at first.  After we started playing we knew we didn’t really need them. In Italy we’ll be improvising with musicians from all over the world.  I think we’re ready. . .

Being Italian, I would like to hear more about Willie’s artistic and personal experience in the four years he spent there. Italians like to complain about everything in their country, and are big fans of the old ‘the grass is greener’ shtick. How would you rate the Italian scene as opposed to the American one?

Willie: The grass is never greener on the other side of the fence but sometimes it’s mowed differently.. The past couple of years have been difficult for many artists both here and in Italy. I’m an older artist doing music for the last several years that is pretty far out from the new manufactured pop but for what I do it’s been easier to book gigs in Europe including Italy. Part of that is because of who I’ve worked with on records which is a selling point for venues and festivals. Musicians are sadly just a commodity when it comes to business. I would say that if most Italian bands or musicians came to America they would find it very difficult to get bookings and the day jobs here will eat you alive.  Moving to America doesn’t guarantee success or happiness.

Living in Italy is nicer in my experience for art, music, people, friends, food, the list goes on. When I lived in Italy I did most of my gigs outside of Padova by train going second class which is very affordable. You just can’t do that in the states and this is a big advantage for Italians. You can trim down your gear to a bare minimum needed. Often you can borrow drums and amps in other cities from fans or share with other bands. I rarely tour with my own amps these days and you will see this is becoming more common.

If I may, some advice for Italian bands and musicians just starting out, forget about America at least until you are very popular in Europe. Get your music out in the big cities in Italy and Europe (and a bit of advice for all young players) work your ass off on promoting your music. Book your own shows when you can. If after a year or so no one is paying attention then change something, change everything and try again. Remember that while self promotion is easy today everyone is doing it so often it appears as though you are just another artist. Try to raise money to hire a publicist and perform live as often as you can. Don’t be discouraged by booking agents or clubs not paying attention, it’s a business and it’s easy today for them so sell an old name playing the old tunes even without the original members or to sell a similar sounding act, cover (tribute) band or old jazz standards. Booking hyped manufactured pop acts is another story we don’t have time for here but, it takes a lot of money to promote and tour an artist in a big flashy way and sadly from this is where most people take their calling. In the eyes of most including many magazine editors and reviewers an artist is better if they are backed by a lot of money, sometimes borrowed from labels (often a bad idea) or often from their family, but don’t let it discourage you, big promotion does not equal big talent and there are still those who make it on hard work and word of mouth. Remember times change so be ready when the time comes. Get a good lawyer before you do anything involving much money. Don’t worry if you can’t afford to attend the big name music schools, training seminars, etc. They are not a guarantee of talent or creativity.

I hope all of you find good partners, band members or a spouse to help you on your way. It’s not easy to be creative and do all the work yourself with all your own money but if you believe in the music keep at it. If you have some family money then more power to you but be careful about taking money from labels or giving money to music taxi services. Take the energy that comes from discouragement and put it into your music.

Some things I wished I had learned early in my career: If you are shy, as I was when young then work hard at overcoming it. Shyness kept me from going to a lot of good auditions. Don’t spend too much on instruments or gear, computers, phones, cars, etc. Get instruments that are adequate and will get the job done but save your money for promotion not flashy gear. Remember too that sometimes the most talented are the least recognized. Everywhere there are numerous players and composers who you have never heard of who are just as good or better than the big names. Sometimes we need to seek them out to enjoy their art and you may find a good band member this way. Sting was once a school teacher who played local club gigs on weekends.

One final thought, you must think of your music beyond just being a hobby if you really want to make great music. Dedicating your life to music is a sacrifice that will show in the quality of your performance. A good read on making a living as a musician by Danny Barnes, a bit dated but still good advice: http://www.dannybarnes.com/blog/how-make-living-playing-music

 Dave, have you had any experience of playing in other countries than the USA? If so, what was your experience of an international context as opposed to a domestic one?

Dave: This trip to Italy will be my first trip overseas and my first experience playing my music outside of Texas, so I am excited to play for European audiences.  Can you ask me this question again when I get back?

Austin is known as a laid-back, artsy town, quite out of character with the rest of the state of Texas. However, I have often see you complain about the lack of opportunities for live performances. What are the positives and negatives of the Austin scene, if compared to other parts of the US?

Willie: We may complain but we could do more about getting gigs here even though there really are no booking agents or clubs to speak of that can handle what we do. Those that do (infrequently) promote improvised music tend to focus on getting acts from out of town.  A lot of bands from here never play here.  Oddly it was different several years ago and there were more places to play outside styles. Presently the scene is mostly singer songwriter, blues, cover rock, some start up pop bands and bits of the rest. There is an old saying here, “popular in Austin, dead everywhere else”(something like that). I’m not sure that if we gigged a lot here it would be such a good idea. (laughs) I am seeing a bit more experimental and improvised music in town but for now  the place for our music is Europe.

The positives of the Austin scene? There is a old expression “Austin is an Oasis surrounded by Texas”, Crime is low and there is a lot to do besides music. It’s a nice place to live and play and much less expensive than many big cities. There are places for up and coming bands and young musicians to perform and get experience. For professional musicians there are less opportunities. I think a lot of musicians live here because they were raised here or because they find the overall laid back vibe of much of the city just fits well with a musician’s view of life. It’s a pretty fun town, check Eeyore’s birthday party sometime for example or a wild night on 6th Street.  I’m often disappointed by the food here but that’s for another interview (laughs).

Dave: I should defer to Willie on this question.  I do have a few opinions, though.  Willie has met a fair amount of opposition to starting any improv. jam sessions here.  WD-41 is certainly not for everyone and I realize we appeal to listeners who understand the risks of improvisation.  That’s a pretty small audience amid the popularity of singer-songwriters, white-guy blues, cover bands and several thousand other groups of all kinds here.  Don’t get me wrong – there are a lot of great musicians in Austin. That fact is what has kept me here for so long.  You can throw a rock and I bet you’ll hit someone who at least says he’s a musician.  He has a guitar, a beard and a shirt from the 80’s.  He plays 3-5 nights a week.  Most audiences want to hear something they are familiar with.  In the “Live Music Capital of the World,” club owners, booking agents and politics play it safe and book what they know.  WD-41 is not safe.  We are different.  Our music is instrumental and improvised.  We often do not have drums.  We are full of danger, chance and mystery.  Austin may not be the open minded, smart and artsy city she thinks she is, but it’s not all her fault.  Austin is still the capital of Texas and she can’t afford to risk it.  Still, I love Austin, the people and the vibe here. It’s doubtful that I would have had the same opportunities in another city.  I am extremely fortunate to be able to play with and learn from two geniuses on a weekly basis!  Still, I can’t wait to play in Italy!

Can you tell us something more about your upcoming performances in Italy? I am particularly interested in hearing about house concerts, which are definitely one of the most effective new strategies for artists to get their music across without going through the usual (and increasingly frustrating) channels.

Willie: well we have the festival dates in Florence (live looping fest, July 16 and 17) and the Portello River Festival in Padova July 21 (three weeks of a variety of artists from around the world and films on a floating stage in a big canal) –  beautiful spot and really fun gig. We then have house concerts in various places with one that will include a live recording with three or four other musicians. We would be doing club dates but many clubs in Italy will be closed in July and while waiting for festival confirmations we lost advanced time needed to book some clubs. The festivals are more important to us. I feel that house concerts are perfect for us because we can play at a reasonable volume, although we do like to move a lot of air when we can. I think for most bands who work smaller venues house concerts are a good alternative. There are legal issues with sound and sales of tickets in many cities, so, often house concerts are booked as private parties or listed as Venue TBA.

Dave: Willie has worked very hard on securing our gigs and contacts in Italy, looking for the right musicians and the right opportunities for us.  He has played at the Portello River Festival several times and it’s exciting to be added to the line-up this year!  I think house concerts are certainly the way to go to get the audience you want to play for.  Also these tend to be very intimate settings where you can get a lot of immediate feedback and energy from an audience sitting on the couch next to you!

You used an Internet-based funding platform to raise money for your trip to Italy. This is another strategy that is rapidly taking hold in the community of independent artists, regardless of genre. Would you recommend it to any up-and-coming musicians, and why?

 Willie: Well, this is our first crowdfund but we have raised nearly all of our air fare to Italy and it looks as though it will go to more soon. It’s difficult to raise much from fans alone and several writings on the subject have mentioned that most successful crowdfunds are due to contribution from family and friends. It’s seems that a lot less people are reaching their goals lately as if the market is flooded. Fans don’t have the money to spread around to the thousands of acts asking for it. For our crowdfund we used ChipIn.com because you get whatever money people put in, you don’t have to reach your goal to get the money as with Kickstarter, also ChipIn takes much less of a percentage. It worked for us because part of our contributions were direct to us and not through the crowdfund. With Kickstarter it would have looked like we did not reach our goal, then we would have to go back to all the pledgers personally and ask for the money.

Dave: Willie set this up, and I think it has worked well.  Getting signed to a label often means working for them instead of them working for you.  In these days of labels with no budget and “pay to play” gigs,  DIY financing makes a lot of sense.

WD-41 have released two albums so far. What would you point out as the main differences between the debut and Temi Per Cinema?

Willie: Besides having others added to the mix on Temi Per Cinema we really developed our sound and now we are playing way beyond even Temi Per Cinema. It will be interesting to see what comes from more recordings with other musicians added. We have a few aces up our sleeve we are working on.

Dave: The main difference is the most obvious one, since we added  Dino and Scott on some of our tracks, which helped to expand our already expansive sound.

Temi Per Cinema was recorded with the collaboration of two other artists, Scott Amendola and Dino J. A. Deane. How did this collaboration come about, and are other collaborations in the pipeline?

Willie: as I mentioned above we have a few collaborations in mind. As for Dino and Scott I just simply asked them and then we worked out details. We thought of both of them because we have heard them on many recordings we enjoy, so it just seemed like a good fit.

Dave: I had heard some of Dino’s CDs and I was blown away by what I heard.  It was really more of a wish that we could collaborate with him.  Within 15 minutes or so of Willie contacting him he wrote back and said, “What do you guys want to do?”  I knew of Scott’s playing as well.  Willie contacted Scott through Facebook and we are very fortunate to have both of these amazing artists on Temi Per Cinema.  I still can’t believe they played on our tracks! I guess all you have to do is ask!  I am hoping that we will have some collaborations in Italy that will open up new possibilities for WD-41 and for our next recording.  We have a few Stateside ideas as well  . . .

What are your plans for the second half of the year, once you come back from your Italian tour? Can we expect to see WD-41 perform in the US Northeast, which is often celebrated as the hub for progressive music?

Willie: I’m not sure there is enough time to book far enough ahead for the last part of 2011 but we would love to play anywhere people want us. I may be touring by myself and adding musicians on the way as a live looping thing. It depends on a lot of issues. If fans want WD-41 in their town the options are to book a house concert or nag booking agents and festival promoters in your area.

Dave: I’d love to tour in the US if I can get the time off!  There is a possibility of playing with Dino in Albuquerque, NM, but that is still in the “maybe” stage.

A big thank you to Willie and Dave for their patience in answering my questions, and all my best wishes for your upcoming Italian tour!

Willie: Thank you too Raffaella!!  It’s been great knowing you though the internet and I hope we meet in person soon.

Dave: Thank you Raffaella for this opportunity to share my thoughts about music and WD-41.  It’s great fun to play with Willie, and for me that’s what it’s all about.  To think that in a month we will be playing in Italy is incredible!   Ciao!

 

Links:
http://www.myspace.com/wd41music

http://www.myspace.com/willieoteri

 

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TRACKLISTING:

CD1
1. Hymn (4:29)
2. The Joy of Molybdenum (feat. The Trey Gunn Band) (5:29)
3. The Fifth Spin of the Sun (2:04)
4. Val El Diablo (feat. Alonso Arreola) (4:35)
5. Morning Dream (feat. Sergey Klevensky) (6:49)
6. Real Life (5:12)
7. Maslenitsa (feat. The Farlanders) (9:31)
8. Gallina (1:05)
9. Dziban (6:15)
10. Misery, Misery, Die, Die, Die… (feat. TU) (1:55)
11. Pole (0:44)
12. Thick and Thorny (feat. Quodia) (2:35)
13. Down Spin (1:13) 14. Absinthe & A Cracker (feat. TU) (3:17)
15. The Shimmering (2:23)
16. Fandango (feat. TU) (4:05)
17. Well (feat. Inna Zhelannaya) (5:56)

CD2
1. Jacaranda (feat. KTU) (3:57)
2. The Magnificent Jinn (3:24)
3. Contact (3:50)
4. Drunk (feat. Inna Zhelannaya) (6:26)
5. Killing for London (6:32)
6. Kuma (4:29)
7. Single Cell Shark (feat. Matte Henderson) (3:31)
8. Cheeky (feat. matt Chamberlin) (3:33)
9. Make My Grave in the Shape of a Heart (feat. TU) (1:24)
10. Spectra (1:57)
11. Capturing the Beam (1:23)
12. Hard Winds (3:05)
13. Arrakis (feat. The Trey Gunn Band) (6:54)
14. Flood (3:17)
15. Untamed Chicken (feat. TU) (4:15)
16. Down in Shadows (feat. N.Y.X.) (4:44)
17. Californ-a-tron (0:49)
18. Vals (feat. Sergey Klevensky) (3:18)
19. 9:47 P.M. (feat. Saro Cosentina) (5:03)

Reviewing a compilation obviously involves a rather different process than reviewing an album of completely new material. My readers will forgive me if this write-up is not as detailed as my reviews usually are, and, for instance, does not include information on all the musicians featured on every track. In this particular case, the compilation is a 2-CD package, comprising a total of 36 tracks spanning almost 20 years of the career of one of the most interesting artists on the current music scene – Texas-born touch guitarist, composer and multimedia storyteller  Trey Gunn, known to the majority of prog fans for his 10-year stint in King Crimson.

I have to admit to having been for quite a long time largely unfamiliar with Gunn’s musical output outside Fripp’s legendary band and a handful of scattered tracks from some of his solo projects. However, two years ago I had the opportunity to see him perform live as a guest of Eddie Jobson’s UKZ project, and was highly impressed by his skills and warm stage personality. Later, I found out that he was born exactly two days before me – perhaps not very relevant from a musical point of view, but an interesting bit of trivia nonetheless.

Released in November 2010, I’ll Tell What I Saw is jam-packed with extremely stimulating music taken from the numerous albums recorded by Gunn in the years from 1993 to the present day, both in his own name or with various other projects featuring international artists. Running at over 2 hours, it manages to sustain a consistently high level of quality, with hardly any filler at all, offering a heady mix of musical styles interpreted with flair, skill and soul. Indeed, Trey Gunn’s output might easily be held up as an example of a genuinely progressive approach to music-making, open-minded and eclectic, always looking for new sources of inspiration, and never letting his creative impulse grow stale.

The oldest items included in the compilation date back from Gunn’s debut album One Thousand Years (released in 1993), and (perhaps unsurprisingly) reveal a strong King Crimson influence, with “Kuma” in particular sounding like something out of the magnificent Discipline. As a matter of fact, the Crimsonian vibe can be heard in all of Gunn’s Nineties material, as witnessed by “Hard Winds”, another track characterized by the insistent, interlocking guitar lines and heavy yet intricate drumming typical of Fripp’s crew in their Eighties and Nineties incarnations. Gunn’s two more recent projects involving drummers – TU with fellow KC alum Pat Mastelotto, and Modulator with German-born wunderkind Marco Minnemann (who was also part of Eddie Jobson’s band when I saw them in 2009) – spotlight the marriage between the drums and the stunning versatility of Gunn’s trademark Warr guitar, with dramatic, mesmerizing textures and plenty of driving energy. However, while the TU tracks are more structured, the Modulator stuff (originally conceived as a 51-minute guitar solo) is largely improvisational in nature. Some of these numbers, especially the thunderous “Untamed Chicken”, seem to emphasize the drum-driven heaviness that characterizes compositions like “Level Five” (from King Crimson’s 2003 album The Power to Believe). Italian outfit N.Y.X.’s “Down in the Shadows” carries nuances of ‘alternative prog’ in the dark, industrial-tinged style perfected by Tool; while the bass-powered “Arrakis”, recorded live in 2001, foreshadows the avant-fusion of contemporary bands such as Zevious.

On the other hand, Gunn’s collaboration with Russian singer Inna Zhelennaya on her 2009 album Cocoon and on the eponymous 2005 album by The Farlanders explore the fascinating reaches of world music, injecting a welcome dose of thoroughly un-cheesy melody (also evidenced in gorgeous opening “Hymn”) in the proceedings. Zhelennaya’s hauntingly keening Russian-language vocals, somehow reminiscent of Lisa Gerrard’s otherworldly chanting, blend uncannily well with Gunn’s quicksilver guitar, producing some very distinctive results in the likes of the hypnotic “Maslenitsa” (the longest track on the album at almost 10 minutes, and possibly its highlight), “Well” and “Drunk”. Entrancing ambient tones, coloured with a feel of gentle melancholy, surface in Gunn’s collaboration with Russian clarinetist Sergey Klevezny; while the slow, liquid “9:47 PM Eastern Time” brings to mind KC’s “The Sheltering Sky”. KTU’s accordion-laden ”Jacaranda” and the Middle Eastern-flavoured “The Magnificent Jinn” branch further out in world music territory, though combining those ethnic influences with the angular dynamics typical of King Crimson.

As exciting and eclectic as I’ll Tell What I Saw is, I would not recommend listening to the whole 2-CD set in one take, since music this challenging and edgy might induce a sense of sonic overload, especially in those listeners who are used to more conventionally structured fare. Thankfully, there is enough diversity within those 36 tracks to keep the most demanding listeners happy. It is, however, music with a high level of complexity, even in the case of the shorter compositions, and needs to be approached with the right attitude. All in all, this is an excellent summary of Trey Gunn’s adventurous, ever-changing career, and an outstanding introduction to the work of one of the most intriguing purveyors of genuinely progressive music on the current scene.

Links:
http://www.treygunn.com

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