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Multi-instrumentalist, Ernesto Diaz-Infante is apt to tackle either minimalist style themes, brimming with melodic frameworks and lush voicings or engage in John Cage-like musings with free-improvisational guitarist, Chris Forsyth. With their second collaboration, this 2001 release features more of the somewhat alien discourses witnessed on the duo’s previous effort, “Left & Right.” On the opener “NYC Journal excerpt (2000), Forsyth utilizes his electric guitar power cord and input jack as a vehicle to inject grounding hum and static into a piece that elicits notions of man vs. machine, as Diaz-Infante, here performing on acoustic piano, counters the guitarist with simply stated harmonies via well-placed block chords and slight shifts in tempo. Otherwise, the musicians’ render spurious two-way dialogue, disparate tonalities, and alien soundscapes that are perhaps analogous to a young toddler deconstructing a newfound toy. Additionally, the twosome pursues free-jazz interplay, while also utilizing a toy piano, old piano soundboard and small percussion instruments as they even manage to turn in a dual guitar exposition that is vaguely reminiscent of an English folk song amid a bevy of discordant twists and turns. Consequently, it is all about two artists delving into the outer regions of abstraction.
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.