The prolific Vinny Golia returns with a highly anticipated flute record. As with the other entries in the Music for Like Instruments series, Golia enlists his unit from the cream of the local scene, then directs them in the astonishing textural and technical realizations of his unique musical vision. His muscular webs of sound avoid flutistic sentimentality and reveal a power not commonly associated with flutistry.
"Lonely Michael opens the collection with the first of four tastes of the Wasabi Series, each a haiku of breath tones. "An Alternative to Oregnum has Golia blasting through the prickly arrangements, themselves giving way for lively group workouts. By tonelessly striking their keys, the trio imitates train rhythms under Golia's contrabass call on "On a Train, before a solemn spaciousness dominates. Seemingly abstract, "Dr. Lubbeck Pays a Visit, So Sam Phones Some Friends coalesces into riffs and orderly ascensions, then dissolves into freedom.
Ghostly voices and breathed whispers precede the piccolos on Poece. An interlude of breath sculpture, and the quartet returns to close. "Wasabi-One blows toned breath and subaudible voice into "Six-Ninety and its spiky theme, with B-movie tension sequence soundtrack motif. The quartet breaks into duos, which pair off for the musical equivalent of martial arts routines. Lon Chaney's growls, squeals, and moans precede the contrabass flute solo on "Aquarina. The ensemble warmly supports the deep wind with an attractive arrangement.
Whirling through the contrabass flute, Golia kickstarts The Machinery of History. The composition then sends the players on like contrapuntal cogs, meshing intricate patterns. "The Everyday Phone Call (for Bobby Bradford) works an appealing bop line that blows apart into a shower of hot metal sparks. "Wasabi-Two walks a foggy night on the waterfront. Golia's contrabass flute plays like a cello on the stately "Red Dirt.
The Flutes liberates the unjustly saccharinized wind instrument from the drawing room and returns it to the hands of Pan.
Track Listing: Lonely Michael; An Alternative to Oregnum; On a Train; Dr. Lubbeck Pays a Visit, So Sam
Phones Some Friends; Poece; Wasabi-One; Six-Ninety; Aquarina; the Machinery of History;
The Everyday Phone Call (for Bobby Bradford); Wasabi-Two; Red Dirt; Wasabi-Three; Da A;
Personnel: Ellen Burr, piccolo, alto & C flutes; Vinny Golia, Db, G & C piccolos, C, alto, bass &
contrabass flutes; Jennifer Roth, piccolo, alto & C flutes; Fawntice McCain, C flute
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.