Avian Thug is this multinational quartet's third release and was recorded in England after the completion of a 2013 tour and offers more of the band's explorative powers, intimating similes of treks into mysterious galactic corridors. Comparisons to the electric Miles Davis era and so on are in order, but this unit gels to heavyweight cadences amid electric trumpeter Graham Haynes' stark pronouncements; brisk modern jazz flurries and succinctly stated melodic choruses. No doubt, they straddle a contemporary electronics-induced jazz rock domain, abetted by keyboard wiz Roy Powell's resourceful bag of tricks, steeped within his use of analog synths, organ and prepared piano implementations. It's a multihued presentation, featuring the highly respected rhythm section of drummer Pat Mastelotto and Naked Truth founder, bassist Lorenzo Feliciati.
The band paints a foreboding but thoroughly happening musical vista. On "Trap Door" Haynes' flickering notes and echoing EFX-based treatments augment a mid-tempo bustling groove with a touch of frantic momentum, as the musicians sound like troops aligning for battle. "Avian Thug," commences with Powell's synth lines that seemingly mimic a bunch of laughing gremlins. Moreover, the keyboardist and Haynes dish out blitzing unison choruses with fluid developments, tinted with bizarre regions of sound and jazzy escapades. The final and lengthiest track "Moon at Noon," transitions the listener to a blissful ambient-electronica vibe, formed with minimalism and the trumpeter's reverberating parts, followed by the bassist's supple underpinnings and the drummer's potent backbeats. Nonetheless, Naked Truth's multidimensional mosaics combine power, grace, and yet another visit into an indescribable netherworld.
Track Listing: Rapid Fire; Lazy Elephant; Trap Door; Tense Shaman; Avian Thug; Day
Bedlam; Moon At Noon.
Personnel: Graham Haynes: trumpet and electronics; Lorenzo Feliciati: basses,
keyboards; Roy Powell: electronic keyboards, analog synths, organ,
piano; Pat Mastelotto: acoustic, electric drums and percussion.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.