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Led by avant, free-jazz drummers Marc Edwards and Weasel Walter, this ensemble pushes the envelope via a nuclear-like aerial assault that in some instances might signify a caricature of vintage, high-octane Albert Ayler fare. Nonetheless, the dual drumming attack serves as the foundation for the hornists' soaring lines, teeming with angst and a spiritual cleansing type approach. It's a sonic blitzkrieg that is not for the faint of heart.
"Luminous Predator," recorded at New York's The Lit Lounge, is akin to rhythmic punishment, offset by Peter Evans' wily melodica lines and saxophonists Darius Jones and Paul Flaherty's high-flying notes. Here, with Andrew Barker a third drummer, they drive this extended piece with maddening and unrelenting intensity, amid the soloists' boiling exchanges and perpetual motion.
"Book Of The Dead," is another extended improvisation vehicle recorded at New York's The Delancey, and features a different horn section, yet the results are largely similar across the board. Yearning saxophones align with a fearsome undercurrent, topped off with elongated phrasings, crazed chants and sheer sonic mayhem. Moreover, the frontline is seemingly emitting distress signals via the plaintive cries and pulsating, bombardments.
Edwards and Walter aim to rattle the mind and senses with these explosive jaunts into no-man's land. It's by no means tepid free-jazz and is an album that might upset the neighbors. Otherwise, the artists go for the proverbial jugular throughout this rather aggressive and implosive feast for the aural network.
Track Listing: A World Without Sun; Luminous Predator; Book Of The Dead; The Coral Reef.
Personnel: Marc Edwards: drums; Weasel Walter: drums; Peter Evans: trumpet, melodica (1, 3); Darius Jones: alto saxophone (1, 3); Tom Blancarte: double-bass (1, 3); Paul Flaherty: tenor saxophone (1, 3); Andrew Barker: drums (2, 4); Ras Moshe: tenor saxophone, flute (2, 4); Mario Rechtern: sopranino, alto & baritone saxophones (2, 4).
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.