Una copertina dalle atmosfere un po’ industrial ci introduce alla nuova proposta della Long Song, etichetta ormai radicata nell’ambito del jazz sperimentale. I Tongs sono un trio (principalmente basso, batteria e sassofono) che si inventa linee melodiche in cui innestare improvvisi cambi di tempo o soluzioni ritmiche devianti. Giocano di anticipo questi giovani musicisti, lasciano intendere e poi spiazzano, inventando di continuo variazioni, per il loro jazz-rock “d’assalto”, tanto potente e diretta suona la ti loro musica. Solo brani strumentali, carichi di molteplici sfumature e sonorità, diversi per atmosfera e impatto, per un album che non può lasciare indifferenti e che dal vivo troverà ancora più completezza ed ulteriori aperture in stile jam.Una copertina dalle atmosfere un po’ industrial ci introduce alla nuova proposta della Long Song, etichetta ormai radicata nell’ambito del jazz sperimentale. I Tongs sono un trio (principalmente basso, batteria e sassofono) che si inventa linee melodiche in cui innestare improvvisi cambi di tempo o soluzioni ritmiche devianti. Giocano di anticipo questi giovani musicisti, lasciano intendere e poi spiazzano, inventando di continuo variazioni, per il loro jazz-rock “d’assalto”, tanto potente e diretta suona la ti loro musica. Solo brani strumentali, carichi di molteplici sfumature e sonorità, diversi per atmosfera e impatto, per un album che non può lasciare indifferenti e che dal vivo troverà ancora più completezza ed ulteriori aperture in stile jam.

It’s with both joy and sadness that I’ve been listening to this superb 2003 live date by Rod Poole, Jim McAuley and Nels Cline. Joy because of the long-overdue exposure McAuley has been receiving (at least relatively, in this tiny comer), but sadness because of Poole’s senseless murder in 2007. So here is a remembrance: a gorgeous trio of improvisations, a reminder of the beauty in this music of the margins, this strange and lovely sound that remains unheralded, doggedly championed, and lovingly explored. Cline has a Lydia Lunch quote on his website: “The only thing worse than a guitar is a guitarist.” It’s hard to find convincing guitar improvisers, that’s for damn sure. It’s amazing that three of this rare breed found each other. United not just by a shared love of microtonal music but by a capacious sense of the possibilities of this maligned and overdetermined instrument, these three players create wonders. It’s not about technique, though there’s plenty of that, and it’s not about solos (though there’s abundant expression and even more emotion).

The seamless interactions yield bright tapestries, woody thickets, groaning drones, lovely detuned daubs, and flinty shapes at the edges of lonesome arpeggios. Rhythm, texture, line, whatever: it all comes from a shared love for the myriad possibilities of the acoustic guitar. The preparations are used subtly and effectively, not calling attention to anything other than the music. For example, at the end of “Vignes 1” theres a bracing percussive package where somebody plays what sounds like a Raymond Strid press roll. There are lengthy exhalations and whispers on “Vignes 3.” And there are some lovely passages for bowed guitar, especially in the very electric drones that conclude “Vignes 3.”

As bracing as individual moments are—like the chorus of broken kotoson “Vignes2”–what’s so ntrancing about this trio is the way they combine such angularity and improv archness with compelling rhythmic momentum, fragile lyricism, and sweet/sour melody. Occasionally, in creeps a bent note that conjures up idiomatic references, but it’s always suggestive rather than declamatory. The pieces really breathe, too, and no matter how dense the trio get, they always follow passages of resounding and chiming with a bunch of space, getting small, scrubbing and ru~ing away as if they’re trying to keep a lonesome fire alight. This stuff has such audible integrity, such passion, and you can practical ly hear the listening.It’s with both joy and sadness that I’ve been listening to this superb 2003 live date by Rod Poole, Jim McAuley and Nels Cline. Joy because of the long-overdue exposure McAuley has been receiving (at least relatively, in this tiny comer), but sadness because of Poole’s senseless murder in 2007. So here is a remembrance: a gorgeous trio of improvisations, a reminder of the beauty in this music of the margins, this strange and lovely sound that remains unheralded, doggedly championed, and lovingly explored. Cline has a Lydia Lunch quote on his website: “The only thing worse than a guitar is a guitarist.” It’s hard to find convincing guitar improvisers, that’s for damn sure. It’s amazing that three of this rare breed found each other. United not just by a shared love of microtonal music but by a capacious sense of the possibilities of this maligned and overdetermined instrument, these three players create wonders. It’s not about technique, though there’s plenty of that, and it’s not about solos (though there’s abundant expression and even more emotion).

The seamless interactions yield bright tapestries, woody thickets, groaning drones, lovely detuned daubs, and flinty shapes at the edges of lonesome arpeggios. Rhythm, texture, line, whatever: it all comes from a shared love for the myriad possibilities of the acoustic guitar. The preparations are used subtly and effectively, not calling attention to anything other than the music. For example, at the end of “Vignes 1” theres a bracing percussive package where somebody plays what sounds like a Raymond Strid press roll. There are lengthy exhalations and whispers on “Vignes 3.” And there are some lovely passages for bowed guitar, especially in the very electric drones that conclude “Vignes 3.”

As bracing as individual moments are—like the chorus of broken kotoson “Vignes2”–what’s so ntrancing about this trio is the way they combine such angularity and improv archness with compelling rhythmic momentum, fragile lyricism, and sweet/sour melody. Occasionally, in creeps a bent note that conjures up idiomatic references, but it’s always suggestive rather than declamatory. The pieces really breathe, too, and no matter how dense the trio get, they always follow passages of resounding and chiming with a bunch of space, getting small, scrubbing and ru~ing away as if they’re trying to keep a lonesome fire alight. This stuff has such audible integrity, such passion, and you can practical ly hear the listening.

Hey what do we got in the toolbox? I’ve the itch to write: “much more than a simple pair of Tongs” and consequentially we’ve an heterogeneous artifact taking inspiration from a bunch of different influences. Forget my crappy humorism but it was just one simple way to introduce the basic concept of bands like this, infact we’re speaking about a sort of advanced fusion or at least about “fusion the way it had to be”, somehow we could speak of a sort of Spaceway Inc plunged in a jazzy-rock-electronic salsa, if the sound is not exactly the same the modus essendi is undoubtedly similar infact you hear different quotes coming from different genres scattered here and there in what remains a jazz dough. Soft-groovy parts mixed with jazz-rock rides like, James Taylorian fragments mixed with afro-american venatures, complicated passages evolving into neo-classical music portraits. If a band has a sound and you can bet they have it, imagine a really warm jazzy/rock/groovy double bass (sometimes electric bass) pulsing on a really calculated drumming which according to my opinion betrays a strong rock and percussionist training, saxophonist/clarinetist plays with a strong afro-american accent and they dress the salad with a whole bunch of electronic tricks. Differently from what many may expect from a band like that you hear this is a collection of compositions and not a series of impros, as I’ve said you hear their way of writing songs is very premeditated but still not too angular like early Zu, when they’re soft they have the goddammit jazz feel and when they go for the rock/loud parts they have the volume like Ruins, Vandermark 5 or something in that vein. Despite that many wonnabies out there sold their soul for the last trend (come on, is it black metal?…power-noise?…weird-folk?), this music is the result of several influences and underlines the historical importance of towns like Chicago in crossing the boundaries of genres and styles, we’re talking about the hometown of Art Ensemble of Chicago, Tortoise, Rob Mazurek, Ken Vandermark and a zillion of other great names. Well recorded, well produced and well played, I guess that has to be undoubtly filed under “interesting debut”. [read original review]Hey what do we got in the toolbox? I’ve the itch to write: “much more than a simple pair of Tongs” and consequentially we’ve an heterogeneous artifact taking inspiration from a bunch of different influences. Forget my crappy humorism but it was just one simple way to introduce the basic concept of bands like this, infact we’re speaking about a sort of advanced fusion or at least about “fusion the way it had to be”, somehow we could speak of a sort of Spaceway Inc plunged in a jazzy-rock-electronic salsa, if the sound is not exactly the same the modus essendi is undoubtedly similar infact you hear different quotes coming from different genres scattered here and there in what remains a jazz dough. Soft-groovy parts mixed with jazz-rock rides like, James Taylorian fragments mixed with afro-american venatures, complicated passages evolving into neo-classical music portraits. If a band has a sound and you can bet they have it, imagine a really warm jazzy/rock/groovy double bass (sometimes electric bass) pulsing on a really calculated drumming which according to my opinion betrays a strong rock and percussionist training, saxophonist/clarinetist plays with a strong afro-american accent and they dress the salad with a whole bunch of electronic tricks. Differently from what many may expect from a band like that you hear this is a collection of compositions and not a series of impros, as I’ve said you hear their way of writing songs is very premeditated but still not too angular like early Zu, when they’re soft they have the goddammit jazz feel and when they go for the rock/loud parts they have the volume like Ruins, Vandermark 5 or something in that vein. Despite that many wonnabies out there sold their soul for the last trend (come on, is it black metal?…power-noise?…weird-folk?), this music is the result of several influences and underlines the historical importance of towns like Chicago in crossing the boundaries of genres and styles, we’re talking about the hometown of Art Ensemble of Chicago, Tortoise, Rob Mazurek, Ken Vandermark and a zillion of other great names. Well recorded, well produced and well played, I guess that has to be undoubtly filed under “interesting debut”. [read original review]

Trio of the late Rod Poole with Nels Cline and Jim McAuley, playing microtonal (perhaps just-intoned?) acoustic guitars. The guitars’ tunings and preparations make for some unusual timbres, and the improvising is first-class throughout, very sensitive. The players’ personalities really seem to meld together.

All tracks good.

1 (18:14): starts very slow, strums with plentiful silence in between. Around 3:45 it gets thicker, with interesting overtones and very warm resonance. Gradual gain in intensity.
You could fade this out around 11:30. Things get considerably more tentative after that, scrapes and plinks and occasional chords, that thickens up nicely and noisily.

2 (9:18): all three playing at once, bright and jangly. Pace is constant and fast.

3 (13:19): abstract, quiet beginning. There’s a bowed guitar that alternately whines and sounds vaguely metallic/feedbacky; otherwise this one is kind of mellow. Silence around 9:06 if you want to cut out early. The pickup afterwards is like the post-11:30 pickup on 1, but a little more hectic.

http://zk.stanford.edu/index.php?session=&action=viewRecentReview&tag=896159Trio of the late Rod Poole with Nels Cline and Jim McAuley, playing microtonal (perhaps just-intoned?) acoustic guitars. The guitars’ tunings and preparations make for some unusual timbres, and the improvising is first-class throughout, very sensitive. The players’ personalities really seem to meld together.

All tracks good.

1 (18:14): starts very slow, strums with plentiful silence in between. Around 3:45 it gets thicker, with interesting overtones and very warm resonance. Gradual gain in intensity.
You could fade this out around 11:30. Things get considerably more tentative after that, scrapes and plinks and occasional chords, that thickens up nicely and noisily.

2 (9:18): all three playing at once, bright and jangly. Pace is constant and fast.

3 (13:19): abstract, quiet beginning. There’s a bowed guitar that alternately whines and sounds vaguely metallic/feedbacky; otherwise this one is kind of mellow. Silence around 9:06 if you want to cut out early. The pickup afterwards is like the post-11:30 pickup on 1, but a little more hectic.

http://zk.stanford.edu/index.php?session=&action=viewRecentReview&tag=896159

Due santità dell’underground italiano si mettono insieme e danno vita a The Shipwreck Bag Show. Le due menti in questione sono il chitarrista Xabier Iriondo e il batterista Roberto Bertacchini. Mi viene subito in mente che questo disco si pone come una delle migliori, e più ispirate cose, partorite dall’Iriondo post Afterhours e post A Short Apnea.
Ed è tutto uno stopparsi, un gracchiare agro/dolce, un mescolare ricordi di blues marciti al sole, di un rozzo noise spezzato e distrutto. “Scoppia” è l’inno giusto per il dopo bomba, Roberto declama (“parrocchiani dove siete ora, continuiamo tutto, le nostre vite… è l’unica forma, è l’unica forma… permesso, permesso. Prima di tutto!”) con la sua voce fracassata e ululante e sotto Xabier con riff pungenti e rumorosi. Altro moloch è “Tuamare”, dove un’improvvisata litania per voce e strumento a corda si fonde e trasforma in un pesante stoner in stile Om. Il finale è tutto per una struggente nenia di origine popolare per strumenti a fiato e ritmiche sempre sfasciate. Primitivo.

http://www.rockit.it/album/10488/the-shipwreck-bag-show-stDue santità dell’underground italiano si mettono insieme e danno vita a The Shipwreck Bag Show. Le due menti in questione sono il chitarrista Xabier Iriondo e il batterista Roberto Bertacchini. Mi viene subito in mente che questo disco si pone come una delle migliori, e più ispirate cose, partorite dall’Iriondo post Afterhours e post A Short Apnea.
Ed è tutto uno stopparsi, un gracchiare agro/dolce, un mescolare ricordi di blues marciti al sole, di un rozzo noise spezzato e distrutto. “Scoppia” è l’inno giusto per il dopo bomba, Roberto declama (“parrocchiani dove siete ora, continuiamo tutto, le nostre vite… è l’unica forma, è l’unica forma… permesso, permesso. Prima di tutto!”) con la sua voce fracassata e ululante e sotto Xabier con riff pungenti e rumorosi. Altro moloch è “Tuamare”, dove un’improvvisata litania per voce e strumento a corda si fonde e trasforma in un pesante stoner in stile Om. Il finale è tutto per una struggente nenia di origine popolare per strumenti a fiato e ritmiche sempre sfasciate. Primitivo.

http://www.rockit.it/album/10488/the-shipwreck-bag-show-st

This is the second Acoustic Guitar Trio album, a follow-up to their 2001 studio-recorded release on Derek Bailey’s Incus label. Vignes was recorded live in 2003 at the Downtown Playhouse (on Vignes Street, hence the title) in Los Angeles. The three pieces here represent the edited highlights from two improvised sets. Judicious editing removed such distractions as traffic
noise, leaving what sounds like a pure set. Of all the live recordings of the trio, this is the only one that the trio scrutinized and unanimously agreed was ripe for release. It’s hard to disagree with them on that decision.

If an acoustic guitar trio conjures up echoes of Crosby, Stills & Nash or even McLaughlin, DiMeola & DeLucia, prepare to be surprised. This trio has few links to such paradigms; they play microtonal improvisations with no unison strumming in evidence. The trio’s members are Nels Cline, Jim McAuley and the late Rod Poole, who was murdered in the car park of a Hollywood diner. The three have very different styles of playing, but they combine and complement each other well. Poole’s microtonal tunings gave his guitar a distinctive sound, as does his occasional use of a bow. As on his solo album Gongfarmer 18, McAuley displays blues influences and employs a range of extended improvising technique, including playing below the bridge and detuning whilst playing. Although better known as an electric guitarist, Cline improvises well on acoustic, weaving fine detail around the others.
Such characterizations of the three do not fully do justice to the trio. Unlike their Incus album, on which they were clearly separated in the stereo image, here it is not possible to fully disentangle each player’s contribution from the others. No matter, at its best the trio doesn’t sound like three individuals but like one single-brained, many-handed entity. When all three are in full flow together, the results make for thrilling listening. This is not music to analyze but to wallow in. Cline tellingly
describes their methodology: “make up a tuning on the spot for each improvisation, look around at each other to find the nods and grins of agreement that meant a promising tuning combination had been arrived at, and GO. For Jim McAuley and me, it was challenging yes, but more like breathing; natural, nurturing.”

Sadly, Vignes marks the end for Acoustic Guitar Trio, unless Cline decides to release more archival material. For now, this album acts as a fitting tribute to both Poole and a unique threesome.

http://www.dustedmagazine.com/reviews/5052This is the second Acoustic Guitar Trio album, a follow-up to their 2001 studio-recorded release on Derek Bailey’s Incus label. Vignes was recorded live in 2003 at the Downtown Playhouse (on Vignes Street, hence the title) in Los Angeles. The three pieces here represent the edited highlights from two improvised sets. Judicious editing removed such distractions as traffic
noise, leaving what sounds like a pure set. Of all the live recordings of the trio, this is the only one that the trio scrutinized and unanimously agreed was ripe for release. It’s hard to disagree with them on that decision.

If an acoustic guitar trio conjures up echoes of Crosby, Stills & Nash or even McLaughlin, DiMeola & DeLucia, prepare to be surprised. This trio has few links to such paradigms; they play microtonal improvisations with no unison strumming in evidence. The trio’s members are Nels Cline, Jim McAuley and the late Rod Poole, who was murdered in the car park of a Hollywood diner. The three have very different styles of playing, but they combine and complement each other well. Poole’s microtonal tunings gave his guitar a distinctive sound, as does his occasional use of a bow. As on his solo album Gongfarmer 18, McAuley displays blues influences and employs a range of extended improvising technique, including playing below the bridge and detuning whilst playing. Although better known as an electric guitarist, Cline improvises well on acoustic, weaving fine detail around the others.
Such characterizations of the three do not fully do justice to the trio. Unlike their Incus album, on which they were clearly separated in the stereo image, here it is not possible to fully disentangle each player’s contribution from the others. No matter, at its best the trio doesn’t sound like three individuals but like one single-brained, many-handed entity. When all three are in full flow together, the results make for thrilling listening. This is not music to analyze but to wallow in. Cline tellingly
describes their methodology: “make up a tuning on the spot for each improvisation, look around at each other to find the nods and grins of agreement that meant a promising tuning combination had been arrived at, and GO. For Jim McAuley and me, it was challenging yes, but more like breathing; natural, nurturing.”

Sadly, Vignes marks the end for Acoustic Guitar Trio, unless Cline decides to release more archival material. For now, this album acts as a fitting tribute to both Poole and a unique threesome.

http://www.dustedmagazine.com/reviews/5052

Guitarist Nels Cline is so recognized as a force in contemporary music because he’s not really a “force”. In other words, his considerable technique, taste and penchant for cross-genre blurs don’t always take the spotlight.

The Acoustic Guitar Trio is more talked about than heard, recast in light and returning to regular mention following the untimely 2007 death of Rod Poole, the guitar wizard, cultural maven and just-intonation improviser. The trio recorded one album that was released in 2002 on Incus and until now, that was all the record-buying public had. Vignes was taped in 2003 at LA’s Downtown Playhouse and the set consists of three collective improvisations on which the instruments are approached physically using techniques like playing behind the bridge, at the head, pattering the hollow body or bowing the strings. That said, the music contained here can be strikingly melodic even as it doesn’t follow traditional tunings or sounds one expects from the instruments. The opening improvisation begins with throaty alap, Cline and Poole stretching out huge chords on either side of McAuley’s muted flecks. A dustbowl raga starts to emerge, rhythmic minimalism and lush overtones painting a canvas that’s layered with sounds born of equal parts Robbie Basho and pianistic preparation. The trio hits a “new day dawning” overture about halfway, then waves subside into thwacks, stabs and rattles atop Poole’s repeating microtonal plink. It is safe to say that Vignes is a window onto a sound-world many have never thought possible and its balance of personalities and highly individual direction make it a paean for the three-sided whole.Guitarist Nels Cline is so recognized as a force in contemporary music because he’s not really a “force”. In other words, his considerable technique, taste and penchant for cross-genre blurs don’t always take the spotlight.

The Acoustic Guitar Trio is more talked about than heard, recast in light and returning to regular mention following the untimely 2007 death of Rod Poole, the guitar wizard, cultural maven and just-intonation improviser. The trio recorded one album that was released in 2002 on Incus and until now, that was all the record-buying public had. Vignes was taped in 2003 at LA’s Downtown Playhouse and the set consists of three collective improvisations on which the instruments are approached physically using techniques like playing behind the bridge, at the head, pattering the hollow body or bowing the strings. That said, the music contained here can be strikingly melodic even as it doesn’t follow traditional tunings or sounds one expects from the instruments. The opening improvisation begins with throaty alap, Cline and Poole stretching out huge chords on either side of McAuley’s muted flecks. A dustbowl raga starts to emerge, rhythmic minimalism and lush overtones painting a canvas that’s layered with sounds born of equal parts Robbie Basho and pianistic preparation. The trio hits a “new day dawning” overture about halfway, then waves subside into thwacks, stabs and rattles atop Poole’s repeating microtonal plink. It is safe to say that Vignes is a window onto a sound-world many have never thought possible and its balance of personalities and highly individual direction make it a paean for the three-sided whole.