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One's approach to music is divined by sensibility. The two bands on this disc show different facets in this respect; both of which have their validity, even if not all of the music comes off as all that interesting. It starts well enough. When Forti sings about a cat, he begins to cluck laying the ground for Provan to sing a line across the top as the bass and drum pound out the rhythm. Very effective indeed, and the captivity of that sound is enhanced as the pocket trumpet heads for an engaging conversation with the clarinet.
The next track continues the foray into the realm of melodic intensity. Pallesen engages a bright harmonic luminosity, using the upper strings of the guitar to give more depth. Forti cleaves in seamlessly on the clarinet. Both these tunes work very well in terms of cohesion and even when they blow into freer territory, there is a sense of continuity and structure.
Structure and freedom can make good bedfellows if there is a thread that connects the two. The Gravitones construct this bridge when they push the parameters and bristle with energy. But they are also disposed to deconstruct and sprinkle particles of sound that fall like wisps into nothingness. “Statico” opens with linear melodic statements from Forti that dissipate into noodlings on the clarinet and “Empty-Fridge” is vapid chamber music when the yaw of the musical saw is not in play.
“Brasserie-Cycle” is a short and sweet sonic delight. It is the final outing, “B.O.A.M.O.S.M.” that gets a highly charged groove. On this a song of many colorsfolk, bebop and some New Orleans stylingsForti sings and scats with abandon, the music coils and attacks in the pulsating sweep of the brass, improvisation resonates with inspired perception. In sum, a great shuddering climax.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.