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Reedmen David Petts and Adrian Northover form the crux of The Remote Viewers, a band that gained notoriety via several albums for the largely avant-garde and progressive jazz-based Leo Records. But this double CD release marks the duo's third release as an Indie record label entity. Here, they employ several instrumentalists, including British free-jazz denizens, bassist John Edwards and drummer Steve Noble among others, who span diverse backgrounds such as house music synthesist Darren Tate.
Petts and Northover pose many persuasive propositions, spawned by their familiar woodwind charts, often constructed upon extended note choruses, teeming with counterpoint and odd-metered phrasings. They also impart a layered schema while delving into a neo=Miles DavisBitches Brew (Columbia, 1969) groove during the acoustic-electric maneuvers featured on "Souls and Cities." Variety serves as an underlying framework for the band, where Dave Tucker's funkified wah-wah guitar licks and buoyant drum programming on "Fire Rhythm," anchor the saxophonists' piercing, free-form lines.
The musicians delve into circular motifs and avant spins on Afro-Jazz-Pop settings, while executing regimented and off kilter storylines amid inquisitive moments during "Spring Flood." In other regions of sound, they generate ethereal electronics noise-shaping panoramas with chamber-esque strings and improvisational metrics. Then, on "The Crowd Accuses," the band exhorts a lighthearted and choreographed sax arrangement, spiked by punchy accents and a sense of urgency. It's a divergent set that projects numerous insights into the ever-expanding realm of jazz, in all its multicolored inferences and flavors.
Track Listing: CD1: Time Flats: Souls and Cities; Joe Narcissus and The Girl;
Sinister Heights; Fire Rhythm; Terminal City; Villages Drowned By the
Sea; Vixenville; An Absence of Windows; Black Thoughts in a Black
Mood. CD2: Mirror Meanings: Spring Flood; Personal Hour; No More
Adventures, No More Perfect Moments; The Crowd Accuses; Headstone in
Love; The Land Of The Blind; And Then The Moors Came; The Faint Green
of Ice (for 6 soprano saxes); Between Certainties.
Personnel: Adrian Northover; soprano and alto saxes,electronics, mbira; David
Petts: tenor sax, electronics; Susan Lynch: tenor sax, flute; John
Edwards: double-bass (1, 3, 8, 10, 13, 14); Steve Noble: drums (4); Adam Bohman: amplified objects (9, 11, 14); Caroline Kraabel: alto sax (12, 18); Dave Tucker: guitar (3), drum programming (1, 3); Phil Marks: drums (2, 7); Eardrum: percussion ensemble (5); Darren Tate: electronics (3, 5, 11, 18,); Ken Butcher: baritone sax (4); Rachel Bartlett: alto sax (4); Rosa Lynch-Northover: xylophone: (6).
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.