When the U.K. hard
drum 'n bass
"duo"
Spring Heel Jack
began collaborating with
Thirsty Ear
and their
Blue Series
curator
Matthew Shipp
, one doubts they had any idea that their own sense of proportion and direction would shift so far away from their source material as it has.
Sweetness of the Water
is the band's fourth outing in the
, and as such, it is their most provocative, challenging, and beautiful yet.
John Coxon
and
Ashley Wales
have become musicians in the old-fashioned sense of the word on this completely
improvisational
outing. Their guitars, vibes, keyboards, trumpet, and hand-percussion chores equal and even surpass their sampling and
electronic
contributions. In realizing this project, the "duo" once again turned to saxophonist
Evan Parker
(who has been a fixture since 2000) and brought together a rhythm section consisting of
Mark Sanders
on drums and
John Edwards
on bass. In addition, trumpeter and vanguard composer
Wadada Leo Smith
is present this time out. There are eight pieces on the set, none longer than eight minutes, the shortest of which is just under three.
exists in a far less controlled environment this time out, and since the language is
free improv
,
Smith
Parker
dialogue with one another uninhibited, and often, in unhurried, non-confrontational language. There are no intense flurries of engagement, but the lyrical communication is stunningly intuitive.
Coxon
's electric guitar on
"Track Four"
that opens the set walks slowly through the center as a bridge between the rhythm section and
's gorgeously long lines. Harsh feedback and
elements are underneath the two main instruments, but they simply fill space with texture and layers of dynamic possibility. On
"Quintet,"
begin the first of their dialogues, with
again creating an edge for them to walk along. Pace, tension, and texture are the points of congress here, and they come together seamlessly as
Sanders
Edwards
dance around the edges, bringing them into sharper focus. Harsh
sounds, drones, and an organ usher in
"Lata,"
as
solos in the middle register. Pulse is the language of rhythm, though drums are absent. Think
My Bloody Valentine
meeting
Gavin Bryars
with
soloing and you have it. The intricate guitar and drum encounter on
"Duo"
is a wooly and thoroughly engaging exercise in control and listening. But the recording's grandest piece,
"Autumn,"
closes the set.
's church organ blares out a majestic series of open chords as electric guitars, shimmering drums, and a confluence of lines by
punctuate the Wall of Sound. It's eerie, strange, and crystalline in its strange elegance and shifting dynamics where elements of drone and pulse are woven with multi-dimensional sonics and tight, restrained harmonics. The sonorities as they mutate and change shape are so haunting and pervasive they become their own esthetic.
is not for everybody, but for those who like their
free improvisation
drenched in beauty, this is your album. ~ Thom Jurek