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Composer/guitarist/EFX specialist Richard Pinhas is perhaps France’s most notable synthesist, commencing with his 70s band “Heldon,” and ongoing stature as a solo artist.
Pinhas' newly released offering poses a few stunning propositions via his symphony of guitars approach: controlled distortion techniques and sweeping countercurrents. With this release, he opts for a subtly climactic methodology, marked by an imaginary plane where themes expand and contract. In addition, thoughts of Moses parting the Red Sea surface on more than one occasion. Much of the recording comprises an extended journey into gaping regions of sound, while Pinhas’ blistering chord voicings provide an edge. His mastery of invoking subliminal overtones and ghostly ruminations cannot be understated. Essentially, Pinhas’ arrangements present the listener with a massive implosion of oscillating movements amid ominously crafted motifs. Either way, his latest venture defies rigid categorizations. A wondrously mystifying experience it is! Feverishly recommended...
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.