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The title of this album could also sound something like the soundtrack for a toppled government. It's musical anarchy and upheaval, thanks to free-jazz drummer Weasel Walter's relentless pursuit of artistic expressionism. With alternating line-ups, recorded at a studio and venues on the West Coast, this album is about pounding bass lines, punishing rhythmic exercises, wailing saxophones and more. There are no hard-and-fast rules set forth, as the musicians' manifesto is built upon sheer energy and frenetic dialogs.
It's a whirlwind approach, featuring avant-garde guitar master Henry Kaiser's metal shredding and sinewy upper register lines on "The Need To Revolt." Then, on "Revolting Music," alto saxophonist Josh Allen's plaintive cries nicely complement Walter's over-the-top asymmetrical pulses, who serves as the primary instigator throughout.
Walter's inventive polyrhythmic solo spot, during the aptly titled "Drum Solo," is a tour de force. Here, the artist performs at a rather maniacal pace, which includes his use of small percussion instruments, blitzing tom-tom patterns and incredibly fast bass-drum footwork. On various tracks two bassists provide a bottom-heavy and limber foundation for the soloists' free-flight. Even hardcore free jazz aficionados might find themselves somewhat aghast by the sheer power generated during the entire program. At the very least, Walter and associates could probably provide backup for your local energy company. Not for the feint of heart.
Track Listing: Revolt; Revolt and Revolt Again; Revolting Music; Totally Revolting; Drum Solo; The Need to Revolt; Right Now We Are Revolting; We Have Revolted.
Personnel: Weasel Walter: drums; Damon Smith: bass; Randy Hunt: bass; John Gruntfest: alto saxophone; Aram Shelton: alto saxophone; Henry Kaiser: electric guitar.
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.