Wandering minds might want to know. Pondering souls can take comfort, as meditation on sound confers solace. As abstract as Ernesto Diaz-Infante’s Solus is, it never displays perplexity, invasion, or ire. The San Francisco based composer plays solo piano on thirteen individually numbered improvisations that eschew swing for an internal rhythm not apparent on first listen. Diaz-Infante’s two-handed approach stops/starts, employs silence, clusters, and the ping-pong plunks of exploration.
Unlike the call-and-response of his recent recording with Jeff Kaiser Pith Balls And Inclined Planes (pfMENTUM), there is little tension apparent here. Besides the acoustic guitar he plays on the Kaiser disc, the sampling and voice make for an almost raucous affair (read Glenn Astarita’s review in the August reviews section).
Releasing oneself from doctrine and time is necessary for this piano exploration. Why is it that the silence after the 47-minutes of the CD ended were just as powerful as the music? I think John Cage could have answered that question, I’ll cue up the disc again.
I love jazz because it expresses things so deep that I can't transform in words.
I met John Pizzarelli.
The best show I ever attended was MASP in São Paulo Brazil.
The first jazz record I bought was a Baby Dodds CD.
My heroes on drums: Papa Jo Jones, Sid Catlett, Gene Krupa, Baby Dodds, Zutty Singleton, Ray Bauduc, Vernell Fournier,
Shelly Manne, Jimmy Cobb, Joe Morello, Daniel Humair, Kenny Clarke, Sonny Carr, Buddy Rich, Sam Woodyard, Cozy Cole,
Sonny Greer, Neil Peart, Carl Palmer, Tony Sbarbaro, Vic Berton, Edison Machado, Milton Banana, Rubens Barsotti.
My heroes in jazz: Duke Ellington, Count Basie, Chet Baker, Miles Davis, Ahmad Jamal, Coleman Hawkins, Teddy Wilson,
Barney Kessel, Lester Young, Johnny Hodges, Jelly Roll Morton.