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Based on the story of Ferdinand, a children's book written by Munro Leaf in 1936 and the basis for Disney's animated film Ferdinand the Bull (1938), Killick (né Erik Hinds) brings us twelve improvised pieces that follow the anti-fight sentiment of this lovable character's adventure.
Set in Spain, the story lends itself to classical guitar impressions; however, the artist isn't using an ordinary guitar. His instrument, Big Red, carries the timbre of an acoustic guitar-bass, which allows him to apply whatever tonal combination comes to mind. Played upright on a spike, the instrument lets Killick relate the story of Ferdinand through musical scenes such as a meadow filled with flowers, a buzzing bee in search of its target, a crowd of sportsmen looking for excitement, an emotional hero who is presented with conflict, a gradual progression from confusion to decision and a happy ending.
Killick follows the story diligently. His fingers fly in explanation with flurries of activity as well as with languid tones designed to give pause. Like Spanish classical guitar music, Bull**** offers the backdrop into which our minds can follow the intended impression. With delicate bass pizzicato tiptoes one moment and thrashing guitar arias the next, the artist presents myriad themes from folk music that interpret the story. In order to follow the changing scenes accurately, he strums double-stops on Big Red, strokes the strings vertically with a light motion, pounds the fret board for emphasis and launches into lyrical themes on occasion. Primarily progressive approaches to impressionism, Killick's string adventures provide ample musical opportunities for revisiting this classic tale.
Track Listing: Snort Butt Leap Jump; You Would Sting; Cork; The Flowers; Fight Day; Lovely Galeria; Grew; Picadores/Scared Fierce; Just Sat; Not (A)Lonesome; Crying Mad; He is Very Happy.
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.