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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 love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.