Hailing from Moscow, Goat's Notes and four guest artists execute a liberating soundscape and sustain a great deal of interest, partly due to the conciseness of pieces averaging three-minutes in length. Featuring a whipped-up blend of improvisation, jazz, classical, and rock shaped into an avant-garde disposition, the artists integrate memorable melodies with dissonance, humor, and rambunctious breakdowns. It's a cyclical deconstruction effort, covering about every conceivable possibility imaginable. But it's surprisingly cohesive as they cluster a horde of mini-motifs into the overall schema.
The ensemble engages in numerous call and response dialogues and at times, spins a rock pulse into looping horn patterns and blues- tinted choruses. A prime example of the band's many faces is evidenced during "Shoe Factory," where pianist Grigory Sandomirsky tones it down amid yearning ostinato notes, propagating a pensive yet tuneful ballad. Moreover, trombonist Illya Vikov tops it off with gusty lines but as anticipated, the musicians turn the tide into a garrulous finale induced by Maria Logan's burgeoning drum patterns. Here, the message may intimate that sweet dreams can often become shattered.
Many pieces are festive by design. However, the continuum most always features unexpected paradigm shifts and variable flows. On the album's lengthiest composition "Wild Nature Executives," they impart a series of scrappy exchanges and infuse a suspenseful aura via twirling horns, simple progressions and open the floor with a subtle rock groove and catchy riffs.
The core ensemble signifies one in a long line of highly experimental Russian aggregations that could trace lineages back to the highly praised founding fathers the Ganelin Trio, who overcame insurmountable odds during the artistically clandestine Soviet era.
Track Listing: Morning Sidewalk;The Nature Of Adventure; 1st Promenade Of The Big
Shoe; Night Creatures; Oscar Wild Avenue; Shoes On The Loose; Valley
Dances; Jungle Walkabout; Big Shoe Forest Run; Old Marsh Pals; Shoe
Factory; Big Shoe Nature; Water Path; Jurassic Gallery; 2nd Promenade;
Another Chase; Shoe Nature Represesentatives; New Species Inc; Wild
Nature Executives; Paysage.
I love jazz because it's sophisticated, international, atmospheric yet free, cool and warm.
I was first exposed to jazz through the sultry voice and flawless swing of my mother.
I met Mark Murphy, David Linx, Kurt Elling, and Youn Sun Nah.
The best show I ever attended was Youn Sun Nah in Paris.
The first jazz record I bought was Native Dancer by Wayne Shorter and Milton Nascimento
My advice to new listeners: open your mind and your ears, forget about structure, feel the textures.
Go see live music and keep buying CDs!