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D.H. Lawrence once wrote, "we don't exist unless we are deeply and sensually in touch with that which can be touched but not known."
That reflection keeps reverberating during the 43 minutes of this improvised performance by guitarist Elia Casu and drummer Paolo Sanna. Their interaction is at times beyond music, and that is not some "new age" shamanist statement. This session easily transcends the conscious act of listening to enable a meditative response.
The recording is broken into six parts, but the sections are only cues for smaller bits to consume the single piece, "Kado." The drums/guitar duo recalls work by artists such as Gino Robair, Paul Lytton, John Shiurba, and Kevin Drumm. They present a forward leaning sound that is propelled by an unstated inertia, as the beats do not come with regularity, nor does the guitar exist as a simple stringed instrument. Casu and Sanna skew their sound with electronics and sleight of hand, simultaneously creating a modern and yet very primal sound.
The "ping," "zip," and "pffutt" of Casu's guitar is balanced by Casu's occasional rattling, then the driving groove travels to the varied landscape of a sonic adventure. Certain sounds must be taken on faith here, as the visual of what is being produced is often not available. Certainly that is okay, because the journey is much more than can be traced on a map.
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.