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Per the press release, London-based composer, keyboardist and electronics ace, Gaudi's "initial idea for this the project was to compose an album of entirely new music using sound from the RareNoise catalog as his orchestra of musicians." Another point of interest noted in the press sheet is that the album does not contain any remixes. Gaudi processed / altered and re-combined the parts into his new compositions that encompass music recorded by most of the artists noted here, culled from their recordings for Rare Noise. Hence, "the orchestra of musicians."
Gaudi's brainchild is infused with Dub, ambient-electronica, psyche rock and prog rock, bolted down by drums and bass-heavy grooves. Producer, composer and bassist Bill Laswellwho among other things, is a pioneer of electronica / dub paradigms appears on three tracks, alternating with Tony Levin (King Crimson, Stickmen) and Colin Edwin (Porcupine Tree). Subtleties and nuanced treatments are resident on each track, predominately coasting at low to mid-tempo cadences amid streaming synth lines and cosmic background shadings. The ubiquitous dub element is marked by brawny pulses and strategically executed electronics treatments.
Gaudi and others, including Roger Eno added parts to these "re-compositions" containing a horde of delicately engineered nooks and crannies that spark polytonal shadings and multihued vistas with some spaced-out movements, enamored by the pristine audio. On "Electronic Impromptu In E-Flat Minor," Laswell's deep and pungent sound anchors Masami Akita's (aka Merzbow) noise electronics permutations, nicely contrasted by guitarist Erlado Bernocchi's tremolo guitar lines, tinted with a bit of twang. Needless to state, the program boasts a broad tonal palate via pumping beats and the frontline's unhurried gait.
On the final track "Epilogue Leitmotif," Roger Eno's ever-so-gentle piano phrasings impart a soothing melody line atop Gaudi's metronomic drum pattern and ghostly lead synth notes. Moreover, Jan Peter Schwalm adds additional EFX on this textural and hypnotically serene piece. And while this outing may seem like a complicated science project, it is an enchanting groove-centric listening experience that shines brightly on a recurring basis.
Track Listing: 30Hz Dub Prelude; Opus 12, No.7; Memories In My Pentagram; Nocturnal Sonata;
Electronic Impromptu In E Flat Minor; Modular Rondo; Die Ballade Vom Frosch;
Personnel: Gaudi – Minimoog, Arp 2600, Theremin, Fender Rhodes, Korg MS20, Arp
Odyssey, Piano & Programming; Bill Laswell: bass; Colin Edwin: bass; Steve
Jansen: drums; Ted Parsons: drums; Roger Eno: piano; Jamie Saft: bass; Eraldo
Bernocchi: guitar & baritone guitar; Eric Mouquet (aka Deep Forest): grand
piano; Tony Levin: bass; Buckethead: guitar; Pat Mastelotto: drums; Masami
Akita (aka Merzbow): electronic noises; Mark Aanderud: piano; Lorenzo Feliciato:
bass; Hernan Hecht: drums; Coppe:’ voice; Alessandro Gwis: piano; Martin
Schulte: electronics; Cyro Baptisita:– Jew’s Harp; Nikolaj Bjerre: drums; Shanir
Ezra Blumenkranz: bass; Roberto Gualdi: drums; Jan Peter Schwalm:
electronics; Pippo De Palma: guitar; Terjw Evensen: electronic drums; Steve
Norris: guitar; Michele Cavallari: Fender Rhodes; Eyal Maoz: guitar; Brian Allen:
I love jazz because it is the most diverse music genre.
I was first exposed to jazz a long time ago.
The best show I ever attended was Henry Threadgill's very very Circus at SJU jazzpodium in Utrecht.
The first jazz record I bought was Coleman Hawkins Big Band live at The Savoy Ballroom 1940.
My advice to new listeners is to attend as many concerts you can even though you may not know the musicians who are playing.
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