The high-gloss packaging and artwork would tend to indicate that D2R came from a top production company. But in fact D2R is the second self-produced album from percussionist/keyboardist Hal Darling. Mr. Darling’s liner notes are actually as entertaining as his music. If his words are to be believed, he is an overly dedicated musician and composer who just happens to be a self-deprecating narcissistic drunk as well. That combination can work for the rare individual and so it seems to do the trick for Darling. His prose and music suggest that the Nebraskan is the kind of guy who could be inhabiting one of the government's abandoned missile silos, toiling away on his keyboards and computers for hour after hour, day after day, year after year as a 21st century Phantom of the Opera.
D2R is a synthesized orchestral mixture of doom and gloom, augmented by occasional Zappa-esque humor and the driving force of Emerson, Lake and Palmer. (Dare I say there are even hints of Grand Funk Railroad from its “Flight of the Phoenix” days?) It is not jazz in any way but certainly has been influenced by jazz-rock fusion. There are few discernable solos, as Darling would rather focus on the dynamics of the music rather than the individual voices. With his keyboards and studio he is able to create a full synthetic orchestra. But Darling is smart enough to portray the music in that light and does not try to pretend the music is something it is not.
“Clown on Fire” opens the album and is its best piece. Despite its clearly subversive nature, it is rollicking good fun. One can actually visualize a video-game clown with his hair on fire desperately trying to find water to put it out. His life is in your hands. “Prom Vomit” will take you back to your high school days and “Asunder” will put you out of your misery.
Darling is joined by Uri Gatton on guitar and Athan Gallis on woodwinds. Their contributions seem important, but for the most part it is difficult to distinguish them apart from the synthesis that surrounds them. Perhaps the next time out Darling will wander off the range a bit and allow for some more personal expression. Could it be that doing so would betray his vision? We’ll only know if we find a way to remove his mask.
Track Listing: Clown on Fire; Black Rhyme; Prom Vomit; Where Seraphs Despair; Rope of Sand; Aggressive Biological Behavior; An Unsettled Score; Run; Dog Dreams; A Breach of Species- One Through Five; Mr. Smith Shows the Children How to Smoke a Cigarette; Asunder
Personnel: Hal Darling- Percussion and keyboards; Uri Gatton- all guitars; Athan Gallis- woodwinds, brass, MIDI horns
I was first exposed to jazz while working overseas in Africa as a Peace Corps Volunteer. I would listen to the Voice of America on the radio and they had a nightly jazz program on at 10:00pm. I learned a lot about jazz listening to this program. I also had a friend who listened to real jazz by artists like Charles Mingus, Eric Dolphy and Archie Shepp. On my way home from Africa I landed in New York and had the opportunity to see the George Adams/Don Pullen quartet at the Village Vanguard as well as Kenny Barron and Ron Carter at another club, and was in heaven.