Guitarist Adam James Wilson hails from upstate New York and acknowledges folks such as Joe Maneri and Harry Partch as influences. His infatuation with microtones is transposed into his utilization of a fretless guitar. On this outing, Wilson’s quintet explores clipped themes, subtle variances in pitch and disparate tonal ranges amid free improvisational excursions. Needless to state, improvising ace Joe Maneri’s influences are evident here. However, the band delves into a bevy of concepts and practices that intimate a personalized mode of attack. Flutist, Arto Artinian provides ephemeral characteristics to this outing, due to his concisely organized yet altogether airy lines. Jonathan Vincent (piano) and Katt Hernandez (violin) often complement Wilson’s sinuous voicings with interleaving patterns and discontinuous exchanges.
The guitarist cranks up the volume in a few spots, as the band sometimes sound like a wayward prog-rock outifit. Essentially, they surge forward with a mindset that might offer a new twist to previously applied theorizations or practices. Whereas the album title offers credence to the notion that the musicians are emphasizing the value of the whole and the correlation of its parts.
I was first exposed to jazz while working overseas in Africa as a Peace Corps Volunteer. I would listen to the Voice of America on the radio and they had a nightly jazz program on at 10:00pm. I learned a lot about jazz listening to this program. I also had a friend who listened to real jazz by artists like Charles Mingus, Eric Dolphy and Archie Shepp. On my way home from Africa I landed in New York and had the opportunity to see the George Adams/Don Pullen quartet at the Village Vanguard as well as Kenny Barron and Ron Carter at another club, and was in heaven.