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The conceptual, avant-garde mode of electronics-based implementations receives a slender uplift, thanks to guitarist and effects maestro Willie Oteri's collaboration with trumpeter Dave Laczko. This 2009, download-only, release is a spacey trip; chock full of loops, streaming synth noises, and fractured sojourns into the cosmic void.
Oteri's résumé includes collaborations with latter-day King Crimson musicians and former Frank Zappa hired guns, among other notables. In light of this, he's obviously well-seasoned in the progressive rock realm, amid the more experimental persuasions, driven home by the output of this effort. Essentially, the duo portrays a stark no-man's land via oscillating treatments, brimming with Oteri's odd-voicings and howling lines, while Laczko's resonating notes provide gobs of depth and airy environs.
The musicians fuse maniacal psychedelia with free-form improvisation. Oteri makes his guitar weep in concert with otherworldly implementations, where at times, it's difficult to discern from where the contrasting sounds are emanating. On "G-9," the guitarist dishes out a rhythmically framed lower register ostinato pattern in support of the trumpeter's soaring choruses and bizarre phrasings.
The artists transmit a dark and ethereal set of circumstances, while having some notable fun during the process. It's a synthetic soundscape of aural colors that prods the mind's eyestranger than fiction, some might say.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.