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Violinist, Mat Maneri seems to be turning up everywhere these days. And with this release he aligns his wares with the leader of the date, and onetime “New England Conservatory” crony - percussionist, Masashi Harada. Whereas, electric guitarist, Philip Tomasic proves to be a vital link amid this rather free-spirited endeavor.
In the liners, Harada alludes to sounds connecting “in the most unexpected manner.” With that, the artist cites, “transformative technique,” as the foundation for improvisation. Tomasic’s slide guitar ruminations and ringing harmonics provide a metallic edge to these pieces, while Maneri utilizes the electric baritone violin throughout. But the gist of these frameworks resides within Harada’s commandeering sense of rhythm. Here, abstract themes are embedded into a series of crosscurrents, and curvaceous fragments of sound, largely due to the musicians’ assertively enacted exchanges. Although Harada’s background chants, and mock operatic vocalise might benefit those who have an acquired taste for this sort of expressionism.
On “A Geo-seismic View of Things,” Harada leads the charge via his smattering of drums and percussion instruments atop Maneri’s extended notes, and Tomasic’s resonant guitar lines. With this outing, the trio seemingly explores the infinitesimal corridors of time and space. Recommended.
Track Listing: 1.Multiple Sun 2.Broken Flower and Glass 3.Sonic Freeze 4.Reverse Flow Sighting 5.Ruthless if Necessary 6.Overtly 7.A Geo-seismic View of Things 8.Excited equilibrium 9.Breathing Cells 10.Libido of Forest 11.Obliteration at the End of Multiplication
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...