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Touch guitar ace Trey Gunn composed this album based upon Marco Minnemann's 51-minute Normalizer 2 drum solo. Thankfully, this is not a bash fest; instead, the drummer's rhythmic foray features odd-metered polyrhythmic episodes and textural cymbal swashes amid a cavalcade of salient percussive concepts.
The preponderance of the largely, contiguous tracks do indeed pronounce a modulating framework; on "Flood," the duo exercises restraint to complement the sinuous journey. Gunn's limber touch guitar work encompasses fretless guitar and basses to complement his electronics overlays. Yet, "Flood" is a piece that typifies many of the other tracks, due to the musicians' fluctuating paradigms, ambient treatments and stinging trade-offs.
They abide by a capacious mindset, whether Minnenmann is throttling matters into overdrive, or Gunn is dishing out a prismatic array of soundscapes. The artists feign over-indulgences, and sustain interest by fusing disparate sounds and intricately devised grooves into these rapidly-moving parts.
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.