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The “Resonance Impeders” represents a modern jazz/improvisational troupe willing to seek out previously uncharted musical frontiers. Simply put, alto saxophonist Briggan Krausse, bassist Chris Dahlgren and drummer Jay Rosen are among the best and brightest of a genre that some are now referring to as the – “new music”. These chaps continue to reinvent the tried and true, as they respectively possess individual voices, which at times, distinguishes them from many of their peers.
On the opener, “Say Then But The Two Gone”, Krauss exhibits his unique darkly hued tonalities amid fleeting lines, as the band pursues an abstract type Indian raga motif in conjunction with Western style scales and polyrhythmic back beats. Here, the saxophonist blows exuberant, high-octane choruses and prophetic statements. With “Ant Farming Cousin”, the musicians engage in emotive dialogue as Krauss’ buzz-saw attack contrasts Rosen’s playful utilization of bells, whistles and the traps, while Dahlgren perpetuates thick, rumbling notes. Hence, the band takes the listener on an unlikely voyage to some inexplicable, far away land.
The band’s inventiveness continues on “All That Dies Gladly Dies” as they get down and dirty via a loosely implemented New Orleans shuffle groove marked by surrealistic qualities, thanks to Krauss’ darting and jabbing motifs and Dahlgren’s subdued yet effective employment of electronics. Basically, these musicians continue to surge past boundaries that often represent stumbling blocks for more than just a few. Overall, the music is intellectually stimulating yet affably entertaining! Highly recommended
Track Listing: Say Then But the Two Gone, Till Dim Go, Ant Farming Cousin, They Had Fallen Into Space And Swung Along In The Dance Of The Constellations, Lip Embalmment, All That Dies Gladly Dies, Alone To Be Seen, Preying Since First Said On Foresaid Remains, Nor To Evil
Personnel: Briggan Krauss; alto saxophone: Chris Dahlgren; Bass: Jay Rosen; Drums
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.