As is the stance of improvising musicians, percussionist
Damon Short
and multi-woodwindist
Paul Scea
have many options open to them, and they take full advantage. Ten of the 14 selections are duets, two are vibes solos from
Short
, the other two have bass trumpeter
Ryan Shultz
joining in. Only two have writer's credits, the rest are spontaneous compositions.
Scea
's flute work is most arresting, whether on the more vocally dominated
"Zero Language Generation,"
in the utter beauty of
's bowed vibes on the sea breeze-ish
"Beaches,"
or the skittish flute-vibes duo in
"Collapsible Coordinates,"
all definite highlights. Bowed cymbals inspire
's soprano sax to an otherworldly tone during
"Breath of Antarctica,"
assimilating an organ-like vibrato burst, a sound on that instrument rarely heard. On bass clarinet for
"Arachnophobia,"
unsuspectingly crawls around
's vibes, while on a more solemn-sounding tenor sax, the two get into a little swing for
's piece
"Impending Downpour."
The three selections
"Home Improvement,"
"Homage,"
and
"Village Politics"
segue quickly, acting like a suite.
's patient drum kit notes are accented by
playing piano strings, moving to overblown flute meditations over
's bowed cymbals, then a vibes-wood flute combo, sending signals across vast flat terrain for all to interpret. The title track, written by
, is free bop induced,
again on tenor.
Shultz
's two pieces have his and
's tenor grumbling,
's drums cackling during
"MLC,"
while the bass trumpet and tenor's stealth underpinnings offset
's inquisitive piano for a standout
"Drop That Name."
's two vibes solos have a similar hyperactive quality,
"2WD1"
starts shimmering then boils with boppish adages,
"Wahzo 3"
bounces off the walls like a superball on acid. The feeling of freedom is ever present in this recording that takes cues from avant expressionism, clearly defined in a wide variety of ways and means by its contemplative participants. Recommended. ~ Michael G. Nastos