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Spring Heel Jack - 2004 - The Sweetness Of The Water (FLAC)

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Music : Jazz : Lossless
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Thirsty Ear THI 57146.2.

1	Track Four	6:40
2	Quintet	4:56
3	Lata	3:28
4	Duo	2:34
5	Track One	7:16
6	Inlet	4:33
7	Track Two	8:49
8	Autumn	5:52

Ashley
Wales: acoustic guitar, trumpet, congas, sampler, electronics
John Edwards: bass
Mark
Sanders: drums, timpani
John Coxon: guitar, organ, harmonica, vibraphone, sampler, electronics
Evan Parker: piano, soprano & tenor saxophones
Wadada Leo Smith: trumpet

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 Blue Series,
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. Sweetness of the Water exists in a far less
controlled environment this time out, and since the language is free improv, Smith and 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 Smith's gorgeously long lines. Harsh
feedback and improvisational elements are underneath the two main instruments, but they simply fill space with texture
and layers of dynamic possibility. On "Quintet," Parker and Smith begin the first of their dialogues, with
Coxon 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 and Edwards dance around the edges, bringing them into sharper focus. Harsh
electronic sounds, drones, and an organ usher in "Lata," as Parker solos in the middle register. Pulse is the
language of rhythm, though drums are absent. Think My Bloody Valentine meeting Gavin Bryars with Evan Parker 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. Coxon's church
organ blares out a majestic series of open chords as electric guitars, shimmering drums, and a confluence of lines by
Parker and Smith 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.
Sweetness of the Water is not for everybody, but for those who like their free improvisation drenched in beauty, this is
your album. - Thom Jurek, AMG   Show Demonoid some love with  BitCoin: 1DNoid2VRyfYn9T38Z1SZ5XncG7WMgCeUL How to get BitCoin? 
 

        
  

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