Bassist and composer Gui Duvignau was born in France, but raised in Brazil. In his latest album, he interprets some classic work by the legendary Brazilian guitarist Baden Powell, whose work left an indelible mark on the samba and bossa nova scene worldwide.
My fellow Californian Ernesto Diaz-Infante provides us with a warm, shimmering work of nine instrumental pieces composed solely for guitar. Each track is warm, not only by experimental music standards, but in terms of pure music listening. My particular favorite was IV, which reminded me of a hybrid between John Fahey and Roy Montgomery playing while immersed in a silvery pool of water well outside this realm. It made for a very pleasant listening experience. For a hard copy of this release, go to Headlights Recordings.
Our friend from Maribor, Slovenia, the fine guitarist Samo Salamon, graces our blog with a new release. This one is just him alone playing the works of Eric Dolphy accompanied by his guitar and, apparently, his cat adding in a meow or two. From Samo’s Bandcamp site: The idea of the project began by practicing at home alone during the many Covid lockdowns, rediscovering Dolphy’s music again. Furthermore, I was inspired to do this album by Miles Okazaki’s great solo guitar Monk project. We had a long talk this year via Skype and it was so great to hear how…
The Internet, for all the garbage one finds on it, amazes me some days. This album, a collaboration of a friend of the blog, George Christian (out of Brazil), collaborates with Kawol Samarqandi (based in Japan) and release this collection on a Spanish record label, Bestiar and an Australian label, Ramble Records. The world becomes smaller everyday. The is a pure guitar album. George performs on acoustic-electric flat-top guitar, electric guitar, while Kawol performs on electric oil can guitar. The plucks and twangs blend into each other seamlessly, and the music suits the day rather well, as it is rainy in Brno…
Our first review on returning to Brno is a burner, naturally. Our friend, man of the world, and experimental music composer Jeff Gburek comes by these pages again with a droning masterpiece. This is not the ordinary drone you hear reviewed on these pages, though, truth be told, nothing I review is even remotely ordinary. The backstory is almost as impressive as these waves of hypnotic (in the best of senses) drones are. To catch the whole story, read Jeff’s writeup on how this fine album came to be. When he advised me of the album the word Kaszubian brought…
I think it’s impossible to overestimate the important place Roy Montgomery has in the annals of New Zealand’s experimental rock scene. Thanks to his work on labels such as Kranky Records and Drunken Fish, he has quite a high international profile, and it helps that the music he’s produced for so many decades is nearly impossible to pigeonhole. This latest project will be four CDs or LPs released in stages throughout 2021 and 2022: February 5, 2021 – Island of Lost Souls July 30, 2021 – That Best Forgotten Work October 22, 2021 – Rhymes of Chance January 14 2022-…
The guitar, all by itself, can serve as tool for making a haunting orchestra’s worth of sounds. My good friend Santiago Fradejas, now resident in Kent, of all places (!) presents a mini-LP’s worth of brooding, swelling, lilting soundscapes. There is a menacing element tying the album together, as though one was taking a stroll near the 6th ring of Dante’s Inferno.
Cousin Silas is one of my favorite guitarists, and I can’t think of many who are better at making such mellow soundscapes. This is one of his latest albums, and his massive body of work is consistently good. Really consider looking him up on Facebook and following his massive release schedule on Bandcamp.
Swiss drummer and percussionist Florian Arbenz was featured on our previous website, A Miscellany of Tasteful Music, some time in 2020 on a record he did with American saxophonist Greg Osby. This album is equally as engaging. This slightly unusual line up of guitar, trumpet & drums might, at first glance, miss a bass instrument. But despite the challenges, the creativity of the musicians involved, as well as Florian’s addition of custom percussion instruments covering this range, make for a fascinating listen which moves from hard-swinging soloing to dreaming soundscapes. Imagine making an album which swings, yet has no bass…
The Sichuan, China-based Jì Lú (稷廬) are a new project that has connections with one of China’s most innovated bands, Raflum. The instrumentation on this album is sparse, but it makes for good listening, as bamboo flute and guitar seem to blend pleasantly. Some notes regarding the release: When talking about landscapes in the traditional context, it’s mostly about reclusion. Although true recluses are rare, the mountains and rivers are always there. Ironically, the real landscapes are actually “horrible nature” instead of some leisure place. The traditional landscape paintings are a kind of “tame nature,” which were described as “To observe with meditation, and lie down to experience” and “Sitting in the forest and spring instead of go to banquet” by ancient Chinese poets. It emerge at North and South Dynasty, then become a game of finding the essence during the Five Dynasties and the Song Dynasty, and finally stuck in the static self-development after the Ming and Qing Dynasties. The development of landscape paintings are just like how people detach with the nature and entering urban life. This album is the continuation of this thesis. In a time when the virtual reality are replacing urban life, we attempt to reinterpret this cliche with improvisation that based on the topic of “landscape.” We also naming the songs by minutes and seconds instead of the traditional way of titling the songs, which is based on its imagery. That creates interactive between the “teller” and listener, and reflects the beauties for individuals due to their own aesthetic experiences. At this time, the distant, outmoded, cumbersome and vague image of landscape might leave a huge space for “starting again.” Instrumental by Liu Zhu (bamboo flute) /Qi Ya (Guitar) Recorded by Qi Ya at Ningbo、Hanzhou、 in 2016-2018 and Liu Zhu at New York in 2016 Mixed and Mastered by Qi Ya Artwork and Layout by Qi Ya Released by Pest Productions 在傳統語境中說到山水，多半關乎隱逸，真隱逸不常有，而真山水常有。葉公好龍的是，真山真水其實是「可怕的自然」，並非閒居宴坐的所在。山水畫作為一種「馴服的自然」，即古人說的「澄懷觀道，臥以游之」、「不下堂筵，坐窮林泉」，自南北朝鮮嫩的發端，五代兩宋的窮其理而後成為一種遊戲，到明清之後陳陳相因的體系內繁殖——其蓬勃發展的歷史反而是與人的身體離開自然山林而進入人工城市的歷史併行的。這張專輯也是對這一母題的延續。在人的身體都快離開人工城市而進入虛擬現實的環境下，給重複了上千年的「陳腔濫調」再增添一次重釋，帶著「山水」這一母題，以即興演奏的方式完成整張錄音。在曲目的定名上，也避開中國傳統的「意象命題」式標題，只以分秒為替代，在「說」與聽之間，帶著各自的審美體驗，進行一次互動，映照各自心中的佳山水。此時，山水形象的遙遠、陳舊、累贅和模糊或許又給「重新出發」以很大的空間。 演奏：六貯（竹管樂器）/ 栖崖（吉他） 錄音：六貯/栖崖 混音/母帶處理：栖崖 錄音時間：2016年04月至2018年11月 錄音地點：寧波 / 杭州 /…