Scott Reeves' Shape Shifter could be called a standard live mainstream affair in that the tunes are, in part, vehicles for some stretching out by the soloists. But the sound slips out of the standard" description, with its atmosphere of adventure and edgy energy, and an approach that more than hints at the avant-garde, in a way that perhaps Jackie McLean did on his '60s Blue Note recordings.Better known for his trombone work, Reeves uses the alto flugelhorn here on seven of the tunes, for a richer, slightly deeper tone than the standard flugelhorn; and he goes with ...read more
The intro emerges as heavy bowed bass--buzzy, ominous, sustained. Suddenly there's a thunderstorm, rock drumming, electric guitar, and tenor saxophone. A synthesizer (seldom-used here) wails, but less than the guitar and saxophone, then makes bell sounds and more while the bass goes thudding and bells like a stag before things devolve into the slower, quieter space of the original mood.
Thus develops Stich Wynston's Outward Bound." I Think This Party's Over" seems a faintly sardonic title for the second track's doomy storm noises, bleating tenor, and integration of textures in which it's hard to say who does what as the ...read more
Toronto musician Stich Wynston takes drumming about as far from its timekeeping role as it can possibly go on Transparent Horizons, his first CD since his 1999 eponymous debut on Buzz Records. Wynston and his group Modern Surfaces (saxophonist Mike Murley, guitarist Geoff Young, and bassist Jim Vivian) maintain almost the same lineup as the previous album--only guest pianist Paul Bley is missing. Here they dispense with a pianist, with the exception of Spiral Nebula, where Stich himself plays a Debussy-esque solo piano étude, and Intergalactic Spheres, where the group plays around a looped piano arpeggio that provides the recording's ...read more