Volume 26 Issue 3 - November 2020

eacting to or against programmed samples
of reed improvisations and other intonations
propelled by his synthesizer. Rife with
static crackles, noises and pauses, the results
are as changeable as if he were duetting with
another player.
With advances in programming, timbres
from the synthesizer take on multiple identities
from bagpipe-like tremors to plastic
kazoo-like screeches; yet most frequently,
organ-like motifs serve as several tracks’
continuum. Meanwhile Chayer’s parallel
acoustic tone is snarly and metallic, dedicated
to high velocity fluttering or calm
multiphonics.
Extended tracks such as Organisation Off
and Master Forgery play with the implicit
plasticity of the program. For instance, the
former positions a biting reed solo atop
massed saxophone timbres and climaxes
as the soloist squeals past altissimo with
key percussion echoes below. The latter
track balances calliope-like patterning that
remains unchanged as vibrating reed split
tones expand to twitters and trills, sometimes
vamping roughly against one another.
Like a Pimp may be the defining track
however, as newer samples keep being added
to the stop-time exposition so that a simple
melody is present from a singular reed line
along with electronic flanging and reverberating
tongue pumps.
Chayer’s stated aim is creating reed
programs that move between analog noise
and musique concrète. Adding a hearty dose
of improvisation, Gebilde proves that he has
attained this goal.
Ken Waxman
Thirty years in between
Barre Phillips
VICTO cd 132/08 (victo.qc.ca)
! Proving that an
old double bass
soloist can still learn
new tricks isn’t
the point of Thirty
years in between.
Instead, coupling
a genre-defining
1989 solo disc from
the now 85-year-old American bassist Barre
Phillips with a new set of live solos from
FIMAV 2019 makes clear how mature savvy
has replaced adroit swagger. Not that the 1989
tracks aren’t dazzling, as Phillips was pioneering
a novel approach to soloing. With fluid
variation at both ends of the timbral spectrum,
he maintained a warm expansive
tone, whether he was pummelling pumping
variables from the bottom tones or using
hard-edged spiccato to extract narrowed
multi-string squeaks,
By 2019 however his strategy has been
distilled to its essence. Pared away from
sometimes baroque-like formalism and
showy staccato runs, he concentrates on
moody narratives. Mellow in his echoing
tones, Phillips still makes use of col legno
slaps and spiccato reverberations, with some
passages taken prestissimo. But by keeping
most interpretations at a low simmer he
isolates rubs and pops then plays up the
suppleness of variously angled string sets and
the instrument’s woody reverb. Animated
with harsh stropping when needed, as on
Abate? Arise?, silences are also prominent.
The concluding A new take strings together
old and new techniques. Alternating between
cultured sweeps and gaunt shrills, a display of
triple stopping is followed by thin moderated
slides to the finale. Obviously Phillips was a
master solo bass player three decades ago –
and he retains that skill.
Ken Waxman
Spirit Science
Tom Guarna
Destiny Records DR-0030
(destinyrecordsmusic.com)
! Renowned
jazz guitarist Tom
Guarna, often
named alongside
greats such
as John Scofield
and Bill Frisell, has
released a delightful
record, taking the
listener on a pleasing and progressive journey
through a spacious jazz world; each track like
a different chapter of the trek with its own
distinct moods and soundscape. All tracks are
penned by the guitarist himself and feature
an all-star group of musicians including Ben
Wendel on tenor saxophone and bassoon,
Aaron Parks on keyboards, Joe Martin on bass
and Justin Faulkner on drums. Such a unique
instrumentation only serves to further highlight
Guarna’s compositions and breathe an
additional energy into them.
The album has been mentioned as having
a cohesive theme that is inspired by “the
science of sacred geometry” which is reflected
in each piece; while singular instruments
meander on their own set melodical paths
within the songs, they come together as
a satisfying and coherent whole that calls
to mind a geometric shape. Specifically, in
Metatron’s Cube, this organized progressiveness
is noticeable, with the rhythmic groove
and distinct bass melody lending structure to
the piece while soaring sax, guitar and piano
solos create the sense of spaciousness and
freedom. Crossing over seamlessly between
progressive rock and traditional jazz, the
album is a must for fans of either genre that
are looking for a fresh perspective on how
Metheny-esque synth and electric guitar use
can be taken a step further into a new and
unique dimension.
Kati Kiilaspea
Django-shift
Rez Abbasi
Whirlwind Recordings WR4762
(whirlwindrecordings.com)
! In 2019,
commissioned by
California’s Freight
and Salvage’s
Django Festival to
present a Django
Reinhardt-centric
recording project,
skilled Pakistanborn
and NYC-based guitarist/composer Rez
Abbasi was challenged by his desire to present
Reinhardt not only as a unique, mesmerizing
and beloved guitarist, but also as a composer.
He plumbed the depths of Reinhardt’s
considerable catalogue and came upon seven
stunning Reinhardt tunes, as well as two
more that were strongly associated with the
magical, Roma-Hungarian guitarist. In order
to bring his present-tense, genre-blending
vision to life, Abbasi called upon the ubertalented
Neil Alexander (organ, synthesizers
and electronica) and Michael Sarin on drums.
Abassi’s rhythmic, 6/8 arrangement of
Django’s Diminishing feels like a tip of the hat
to the great Thelonious Monk – and Abassi
freely admits that Monk’s odd, juxtapositional
style influenced several tracks. Abbasi’s
organic understanding of complex rhythmic
patterns and his exquisite guitar technique
defines this standout project, and longtime
collaborators Alexander and Sarin have
jumped down the proverbial rabbit hole right
along with him – never missing a nuance.
Of particular innovation is the invigorating
use of organ and synthesizers (including
guitar effects), coupled with the contiguous,
pulsing drum work by Sarin. Reinhardt’s
classic Swing 42 is barely recognizable here,
but this new perspective on the tune brings
an unbridled urgency and the gorgeous
ballad, Django’s Castle, displays the fine trio
at their lyrical best. A favourite of Django’s,
Anniversary Song (Ivanovici), is arranged
here as an odd-metered funky trip and one
of the most compelling tracks is certainly
Abassi’s take on Kurt Weill’s melancholy
September Song. Abassi’s sumptuous tone
and emotive interpretation of this classic are
beyond compare.
Lesley Mitchell-Clarke
You Me & Cole
Noa Levy; Shimpei Ogawa
Belle Records BEL-002 (noalevylive.com)
! Over the years,
there have probably
been as many Cole
Porter jazz renditions
as there have
been people on the
planet. However,
against the odds,
vocalist Noa Levy
44 | November 2020 thewholenote.com