All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Guitarist Johnnie Valentino lists "sound designer on his resume, and his Eight Shorts in Search of David Lynch demonstrates the craft. Valentino designs "sound beds, manipulated found sound environments with which the improvisers interact. Each captures a mood, with ambient dream world synergies seeping in, a la Lynch. The worlds spun by these musicians materialize before the mind's eye, each an original sound vignette.
Large throbbing tones, with processed spider guitar running on snare webs, open "Ambiguity. Erik Friedlander's expressive cello anchors the swirling metallic signals and Valentino's jumpy tumbling guitar line. Mike Sarin's mallets strike swift and crisp out of thick electronic pulses. An industrial loop and sirens remind the listener of Valentino's love of Varese on "Exploration. Randy Jones' tuba and Russ Johnson's muted trumpet join the metallic sounds scraping and humming around them with Valentino's distortion disguised guitar buzzing through channels. Occasional titanic bass drum thump recalls Noh play music.
Naked exotica permeates "Under Current, with resonating tabla samples and floating wordless vocals interacting with Vinny Golia's protean flute improvisations. Valentino plays acoustic, possibly mandolin or shamisen, with a bright string instrument sample circulating the channels. "Components buzzes and hums with in amorphous metallic echo, acoustic guitar notes occasionally turning backward on themselves. Johnson's trumpet warms the spaceways with Mick Rossi supportive on piano.
Golia returns to a low flute playing with whales, electronic echo, and a tape of himself on the moving "Unveiled. Johnson pierces the dream sounds with trumpet flash on "Concrete Irrationality. Oozing and trickling electronic distortions blow through with Sarin, giving the robot a pulse.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...