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Guitarist Joe Morris and keyboardist Jamie Saft follow-up the 2013 Rare Noise Records release Slobberpup in a similar vein by locking into another improvisational fest. Once all the audio processing equipment is ready to roll, it's time for instantaneous compositional forays, as they let the chips fall where they may. Morris' former student, guitarist and rising star Mary Halvorson, along with the prominent rhythm section of bassist Chris Lightcap and drummer Gerald Cleaver steer an asymmetrical rhythmic course. However, the smoky audio sound inadvertently or perhaps intentionally tenders a clustering effect that accentuates the holistic group aura in contrast to a more detailed presentation.
There are three lengthy tracks on the album and the final piece "Standish," projects a calm before the storm mindset, as we hear the instrumentalists slowly build up steam along with a surfeit of undertones, Morris' subversive phrasings and Halvorson's slithering single notes. The quintet elevates the pitch via upper-register interplay as Saft sprinkles the background with darting Hammond B3 organ lines atop an undulating current.
They turn up the heat amid the guitarists' use of distortion while generating a frantic gait, followed by weird effects and off- kilter noise-shaping movements, revved up by Saft's sweeping chord voicings. And they veer off into another galaxy of antagonistic deliberations towards closeout. No doubt, the artists' resourceful bag of tricks and keenly stylized improvisational tactics rule the roost on Plymouth
Track Listing: Manomet; Plimouth; Standish.
Personnel: Jamie Saft: organ, echoplex piano, Fender Rhodes; Joe Morris: electric guitar; Chris
Lightcap: electric bass; Gerald Cleaver: drums; Mary Halvorson: electric guitar.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
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