In
Sid Smith
's liner notes to
Chapter One
,
I Know You Well Miss Clara
's 2013 debut album on
MoonJune Records
, guitarist
Reza Ryan
is described as the Indonesian jazz-rock quartet's "principal composer and guiding force," and while his creative leadership becomes abundantly clear as the album proceeds, the talents of
Ryan
's bandmates also shine brightly from the get-go. The opening moments of ten-plus-minute leadoff track "Open the Door, See the Ground" find the spotlight firmly on the darkly hued, reverbed electric piano of
Adi Wijaya
, who co-wrote the number with
. Electric bassist
Enriko Gultom
and drummer
Alfiah Akbar
soon join in with an uptempo swinging groove to support
Wijaya
's fleet-fingered pianistics, but
still holds back. When the guitarist does make his bold entrance, at nearly the four-minute mark, he is revealed to be quite the powerhouse indeed, and just the sort of killer soloist -- a la
Allan Holdsworth
John Etheridge
, or
Marbin
's
Dani Rabin
-- admired by
MoonJune
label head
Leonardo Pavkovic
. One can also hear the influence of Canterbury scene guitarist
Phil Miller
in
's tone, phrasing, and scalar/modal choices, and the tune's core theme has a discernable
Matching Mole
flavor. By the middle of "Open the Door, See the Ground," though,
is somewhere else entirely -- and taking the band with him -- as intermittent thick choppy chords and effects signal that outright metal and noise-tinged assaults are well within the group's purview.
The nearly 15-minute "Reverie #2" initially seems appropriately named, with
Gultom
's deep bass throb,
's crystalline keys, and
Akbar
's restrained drums supporting a lovely theme voiced by
with burning sustain; the guitarist drops out during a spacy keys-bass-drums feature but then commences a machine-gun flurry of single notes gradually bent upward in pitch as his bandmates continue their measured approach, apparently unperturbed by
's wild presence in their midst. All four quartet members ultimately find themselves pulled toward an agitated middle ground -- pretty far from a reverie, actually -- that powerfully works back to the theme before the dynamic is momentarily lowered for a
bass feature seemingly inspired by
Richard Sinclair
's work with
Hatfield and the North
. "Dangerous Kitchen" is a fine swinging vehicle for
on piano and guest
Nicholas Combe
on sax until, late in the game,
explodes the tune with a "solo" constructed of angular metallic shards -- it sounds improvised yet
is in lockstep with the guitarist every step of the way. Best of all is closing track "A Dancing Girl from the Planet Marsavishnu Named After the Love," a nearly 11-minute
Mahavishnu
-meets-
Hatfields
multifaceted gem that segues into a hiccuping time signature beneath
Combe
's increasingly urgent sax at the tune's conclusion. Despite
's explosive interludes, the lengthy tracks give the album an unhurried, exploratory quality overall, but at six minutes and change, the soaring guitar harmony-laden "Pop Sick Love Carousel" proves
and company can fully engage the listener in relatively short order as well. ~ Dave Lynch