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” W.O.O Revelator” is a band accustomed to authenticating that – very special – groove on live concert recordings, and with their 4th release, the trio proliferates their very distinct blend of semi-controlled sonic mayhem from within the confines of the studio. The Theory of Reversed Effort is a feast for the adventure seeker’s psyche, featuring saxophonist and EFX practitioner Bonnie Lane, avant-garde guitarist Chris Forsyth and the rhythmically explosive drummer, Ray Sage.
In many instances this powerful little band prompts one into thinking that there are more than three performers going at it, via an enticingly chaotic web of modern jazz-improvisation, elements of psycho grunge rock and an altogether protean group methodology. Essentially, the music is all about jagged, fragmented motifs and polytonal sequences meshed together for a series of abstract pieces spanning imageries of mystical enchantment, surrealistic environs and three folks indulging in passionate dialogue. On, “More One Way Than The Other”, Bonnie Lane, here performing on flute, renders circular passages, enhanced by digital loops, Forsyth’s unpredictable chord voicings, smatterings of EFX and Ray Sage’s polyrhythmic delivery. Through it all, the band takes the listener on a mesmerizing journey brimming with extended and contrasting themes, zealous interplay and ebullient story lines. Yet, whether it is controlled feedback, blaring crunch chords or cacophonous plaintive cries, this outing represents one heck of a cosmic escapade. Recommended
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.