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1) TOM TEASLEY,<br />
ALL THE WORLD'S A<br />
STAGE,<br />
T2 Music 0312<br />
ORESTEIA FURIES DANCE<br />
/ RUMBA FOR RAMA / THE<br />
APPLE SONG / NIGHTS<br />
OVER BAGHDAD / ORESTES'<br />
LAMENT / FUSKA AND<br />
VARUNA / RETURN OF THE<br />
GREEN BIRD / RISE UP /<br />
SETZUAN BLUES. 41:06.<br />
Tom Teasley (d, perc,<br />
vcl, EWI). No recording<br />
information given.<br />
New Issues<br />
155 | CadenCe Magazine | april May June 2013<br />
dependent variations embellishing the consistent<br />
animating pulse. All in all, Colors of Red Island<br />
represents an interesting project that highlights the<br />
moods, the call-and-responseness, naturalism,<br />
synthesized unnaturalism, movement, and scene-setting<br />
created by two accomplished drummers fascinated<br />
by the percussiveness of struck objects and by the<br />
subordinate sonic imitations from electronics. Just as<br />
notable, though, is the introduction of an already<br />
individualistic eighteen-year-old trumpeter, Simone<br />
Scolari.<br />
Bill Donaldson<br />
O n first blush, I had a concern that (1) might end like<br />
one of those “world music” samplers in some ways.<br />
Yet after a few bars of “Oresteia Furies,” the earnest and<br />
technically able Teasley - who plays traps, tabla, xylophone,<br />
timbales, and more - plays music that’s actually<br />
very much an extension of the Codona ethos. These<br />
are all mid-length pieces with fairly steady, unwavering<br />
rhythms at their base. This is no bad thing, as the<br />
grooves are often head-noddingly infectious. Teasley<br />
also supplements them with breath noises, vocal phrasings,<br />
and textural details that vary considerably. It’s<br />
to Teasley’s credit that he uses the EWI so elegantly<br />
throughout; it’s an instrument that usually has a nailson-chalkboard<br />
effect on me, but his melodic lines and<br />
deft manipulations of timbre fit with these postcard-like<br />
tunes. He does this especially well on “Orestes’ Lament,”<br />
with a melancholy feel amidst a low thrum and steel<br />
drum base, but he also makes it sing on the languorous<br />
“Apple Song” and gets it moaning alongside various<br />
rubbed membranes on “Rumba.” On a few occasions,<br />
things get a bit sleepy. But it’s not long before Teasley<br />
whips things up so they’re more urgent and compelling,<br />
as with the shakers and marimbas stirring the pot on<br />
“Night.”<br />
Jason Bivins
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