East meets west with this collaboration between California's Kris Tiner and New York's Mike Baggetta. With various trumpets and prepared acoustic guitar, they explore a variety of compositional models while leaving plenty of room for showcasing improvisational prowess. Tiner plays through a spectrum of tones and approaches, well matched by Baggetta's inventive, wiry guitar inventions. Both embrace an aural adventurousness that leads the listener to unforeseeable soundscapes and ear dreams.
The set opens with "The Road to El Paso. Tiner spreads jagged honey blues, sometimes with throbbing vibrato. Baggetta gets less is more and throws metallic gleam accents in over his dark dirge. Tiner creates some cubist blues tough-guy crying persona that takes loneliness into the night. This could be Harry Dean Stanton's walk on theme. On "Second Preference, Tiner emits shapely warbles against Baggetta's needle and tweak, then sideways riffs end with a child's toy, a sort of secret serialism with joyous bursts.
Baggetta's A Delicate Touch creates tension with a rumbling bass, which Tiner smears with a saxoflugel. Back on trumpet, he flies through Baggetta's tangle of strings. "Your Aftermath has Baggetta glassy and solo, sounding like a piccolo koto.
Tiner finds unique sound and intervals on his a capella Caffeinated Weasels, while his muted musings on "One More Chance collide with Baggetta's spiky lines and bowed modes. Baggetta slides around like an elastic octopus beneath Tiner's fanfares on "Choke on It. The title track returns Tiner to soulful mode, going rich and lyrical with Baggetta providing sensitive subdued interaction.
With their complimentary sensibilities blending to challenge and comfort, There, Just As You Look For It delivers pungent chamber music.
Track Listing: The Road To El Paso; Second Preference; A Delicate Touch; Your Aftermath; Quadrants (for
Ken Wilber) WE, ITS, IT, I; Caffeinated Weasels; One More Chance; Choke On It; There, Just
As You Look For It.
Personnel: Kris Tiner; trumpet, flugelhorn, piccolo trumpet, saxoflugel; Mike Baggetta: prepared
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.