Ido Bukelman: Solo Acoustic Guitar Recordings
Israeli guitarist Ido Bukelman has developed a highly idiosyncratic style since releasing his first solo album, City Tail (OutNow, 2009). At that time, he tended to reference saxophonist Ornette Coleman's harmolidics, guitarist Pat Metheny's clean melodic lines and guitarist Jimi Hendrix's pyrotechnics.
After working closely with Israreli sax players Albert Beger and Yoni Kertzmer, Bukelman began to focus on solo acoustic guitar, now influenced by experimental, conceptual guitarists such Derek Bailey and Bill Orcutt. These two solo recordings track his development as a mature musician and improviser.
This album was recorded in winter 2010 for the new Israeli label, OutNow Recordings. On it, Bukelman began to experiment with form, structure and above all the sound of his acoustic guitar, finding more and more sonic possibilities, not only with the strings but also with the body of the instrument. He still stuck to loose skeletal chord progressions, even in the most jangled, fretting moments, as on "Just Hold On," spreading clues about a basic melodic line that was the root of the improvisation, but strips the seven improvisations from conventional harmonic paradigms.
On other improvisations, such as "Mincing Walk" and "She's Gone," where he adds otherworldly electronic sounds, Bukelman abstracts the structure and lets his intuition lead him on. On "The World Is An Open Wound" and "The Cap's Back," and the lyrical "Take My Hand," the chaotic fretting blossoms into clear themes, even, at times, into harmonic exploration of a theme. Here, Bukelman is reminiscent of other solo guitar improvisers such as Ralph Towner or of Sonic Youth's Thurston Moore.
This album was inspired by the poems of Israeli poet Israel Eliraz and dedicated to his partner. Bukelman now plays acoustic guitar, banjo and a few percussion instruments such as bells, that he can operate while playing the guitar. The 11 improvisations are looser but also more concise than on the previous album, seeking a deeper, resonant ambience that expands the conventional sonic possibilities of a six-string guitar.
On "Man With Just A Handle Blues," Bukelman's playing is a stream of intuitive improvisation that finds a cohesive structure towards the end. "Love Song" is a more meditative improvisation, as if Bukelman is looking for the right sound to reflect his emotions. The title composition-improvisation, in three parts, unfolds patiently and gently, and through its basic skeletal structure Bukelman explores beautiful harmonic possibilities. "(The R.C. Singing) Over The Tall Flowers" further explores poetic, emotional playing.
Tracks and Personnel
Tracks: I Call It Morning; Just Hold On; Mincing Walk; The World Is An Open Wound; She's Gone; The Cap's Back; Take My Hand.
Personnel: Ido Bukelman: acoustic guitar, electronics.
Tracks: Drop; I Can Hear The Room's Choir; Man With Just A Handle Blues; Love Song; With Birds; The Door: Part I-III; (The R.C. Singing) Over The Tall Flowers; Red Door; The Room's Journey (End).
Personnel: Ido Bukelman: acoustic guitar, banjo, percussion.