Australian violinist and forward-minded improviser Jon Rose is the primary voice on this cleverly devised gala featuring his bandmates' oddball instrumentation, like the use by keyboardist Chris Abrahams (of the minimalist jazz-rock unit the Necks) of a harpsichord, forte piano and "positive organ to round out his partners' odd implementations.
This music is energetic, bizarre and exhilarating, though finesse might not be the right term here. It's more about frenetic in-your-face improvisation, catapulted by Rose's energized staccato lines and unusual effects-based treatments, and the other artists' penchant for soaring to lofty zeniths. Think of circular passages, fractured themes and veering dialogues coagulating into microtonal dissertations and rambunctious group-based interplay.
On "The Elastic Lamina, Abrahams' frenzied harpsichord progressions counterbalance the other musicians' bullying intensity; a medieval muse attains equal ground with shrieking lines and aggressive statements. They institute descending, spirally moving passages on "The Feeding Lumbar, and generally render a mindset akin to mad scientists at work or play.
Listeners who are already familiar with Rose's work should find a great deal of interest here, as the overall theme is based upon medical terms. But a note of caution: this album is not for the faint of heart. However, if you're simply yearning for some delectably off-kilter, insightful and periodically spellbinding music, then this disc may fit the bill.
I love jazz because it's sophisticated, international, atmospheric yet free, cool and warm.
I was first exposed to jazz through the sultry voice and flawless swing of my mother.
I met Mark Murphy, David Linx, Kurt Elling, and Youn Sun Nah.
The best show I ever attended was Youn Sun Nah in Paris.
The first jazz record I bought was Native Dancer by Wayne Shorter and Milton Nascimento
My advice to new listeners: open your mind and your ears, forget about structure, feel the textures.
Go see live music and keep buying CDs!