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Few avant-garde guitarists have made as much of a statement as Elliott Sharp. In his many projects he has worked within rock, blues, free jazz, electronica, and modern classical idioms. But his great talent (and primary intent here, I suppose) is to build unexpected combinations from these elements. His solo Tectonics project, now in its third reincarnation, approaches music using samplers and sequencers as well as guitar and saxophone. (And it's a lot more effective than, for example, his drum&bass collaboration with DJ Soulslinger last year. Mainly because the electronic component has more structure and variety.)
Errata blends electronica with free jazz and a touch of noise. While pulsing and crashing noises emerge from his Powerbook, Sharp performs on his weird-looking 8-stringed guitarbass or saxophone (sounds like alto to me). While a lot of the time the performance sounds are distorted to square waves, Sharp also throws in dry tones and touches of reverberant warmth. The style of his performance also varies widely, from bluesy lilt to nostalgic jazz to all-out noise.
The programming is highly variegated and somewhat mesmerizing. It can't be emphasized enough that E# is not for everyone. But if you have an open mind and seek something creatively expansive, you might find Sharp's music highly addictive. Errata is as good a place as any to start.
Track Listing: Spliny Thicket; In Tongues; City of Sand; Which Delta; Calle Siete; Hotfoot; Noospheric; Goomy; Kargyraa; Errataka.
I love jazz because it is a pure American music and can be expressed in different ways depending upon the artist.
I was first exposed to jazz while as a teenager I listened to Duke Ellington, Benny Goodman, and Louis Armstrong, on a jazz
radio station in New York City.