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A Few Dozen
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A Few Dozen in Chattanooga, TN
Current price: $22.99
Barnes and Noble
A Few Dozen in Chattanooga, TN
Current price: $22.99
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As an electric guitarist who is looking to stretch parameters and create his own style of 20th century contemporary creative music,
Arnold
forges an alliance with bassist
Ratzo Harris
and drummer
Tony Moreno
to achieve his goal. Though it might not mean much to the average listener,
is employing the 12-tone row device (thus the title) as a vehicle for improvising. This is complex, heady, adventurous, open-ended music fronted by
's resonant, slightly steely, dusty, distant, single-note sound that straddles the line between jazz tradition and rock snarling.
wrote all seven selections here. The title track states a very brief melody before hurtling into improv, also not coincidentally based on a 12-bar blues framework.
"Seventh Street"
starts as hard bop and drifts into a rock beat, with
's ostinato chords and space signal effects as a foundation for
Moreno
's drum workout.
Harris
gets the spotlight in the middle solo for the ten minutes of
"Dialog"
with the extended techniques that only a master can employ. Guitar and bass counterpoint start this fracas with a beat, then no beat, then slight or suggested rhythms before
takes command on this most elaborate composition. More steady rhythmically is the 4/4 Afro-Cuban, churning
"Broadway Y2K"
with
's
Carlos Santana
cum
Robert Fripp
/
Adrian Belew
assimilations.
"Numbers"
is in two parts: the prelude is a deep-space exploration in rubato with looped guitar effects and groaning bass leading to quick hand percussion accents; then the meat of the piece goes into black-hole territory with call-and-response snippets of guitar and bass alongside gonging cymbals. At its most serene, the slow waltz
"Reflection"
has
again in deep-blue mode, exorcising all spirits -- good and evil -- from his soul and strings. Though this is not for everyone, the challenged listener should find this unique and different among the plethora of same-sounding jazz or fusion plectrists. There's a balance of shared responsibilities between the three and perhaps a healthy cynicism that pervades
's music, making it all his own. ~ Michael G. Nastos
Arnold
forges an alliance with bassist
Ratzo Harris
and drummer
Tony Moreno
to achieve his goal. Though it might not mean much to the average listener,
is employing the 12-tone row device (thus the title) as a vehicle for improvising. This is complex, heady, adventurous, open-ended music fronted by
's resonant, slightly steely, dusty, distant, single-note sound that straddles the line between jazz tradition and rock snarling.
wrote all seven selections here. The title track states a very brief melody before hurtling into improv, also not coincidentally based on a 12-bar blues framework.
"Seventh Street"
starts as hard bop and drifts into a rock beat, with
's ostinato chords and space signal effects as a foundation for
Moreno
's drum workout.
Harris
gets the spotlight in the middle solo for the ten minutes of
"Dialog"
with the extended techniques that only a master can employ. Guitar and bass counterpoint start this fracas with a beat, then no beat, then slight or suggested rhythms before
takes command on this most elaborate composition. More steady rhythmically is the 4/4 Afro-Cuban, churning
"Broadway Y2K"
with
's
Carlos Santana
cum
Robert Fripp
/
Adrian Belew
assimilations.
"Numbers"
is in two parts: the prelude is a deep-space exploration in rubato with looped guitar effects and groaning bass leading to quick hand percussion accents; then the meat of the piece goes into black-hole territory with call-and-response snippets of guitar and bass alongside gonging cymbals. At its most serene, the slow waltz
"Reflection"
has
again in deep-blue mode, exorcising all spirits -- good and evil -- from his soul and strings. Though this is not for everyone, the challenged listener should find this unique and different among the plethora of same-sounding jazz or fusion plectrists. There's a balance of shared responsibilities between the three and perhaps a healthy cynicism that pervades
's music, making it all his own. ~ Michael G. Nastos
As an electric guitarist who is looking to stretch parameters and create his own style of 20th century contemporary creative music,
Arnold
forges an alliance with bassist
Ratzo Harris
and drummer
Tony Moreno
to achieve his goal. Though it might not mean much to the average listener,
is employing the 12-tone row device (thus the title) as a vehicle for improvising. This is complex, heady, adventurous, open-ended music fronted by
's resonant, slightly steely, dusty, distant, single-note sound that straddles the line between jazz tradition and rock snarling.
wrote all seven selections here. The title track states a very brief melody before hurtling into improv, also not coincidentally based on a 12-bar blues framework.
"Seventh Street"
starts as hard bop and drifts into a rock beat, with
's ostinato chords and space signal effects as a foundation for
Moreno
's drum workout.
Harris
gets the spotlight in the middle solo for the ten minutes of
"Dialog"
with the extended techniques that only a master can employ. Guitar and bass counterpoint start this fracas with a beat, then no beat, then slight or suggested rhythms before
takes command on this most elaborate composition. More steady rhythmically is the 4/4 Afro-Cuban, churning
"Broadway Y2K"
with
's
Carlos Santana
cum
Robert Fripp
/
Adrian Belew
assimilations.
"Numbers"
is in two parts: the prelude is a deep-space exploration in rubato with looped guitar effects and groaning bass leading to quick hand percussion accents; then the meat of the piece goes into black-hole territory with call-and-response snippets of guitar and bass alongside gonging cymbals. At its most serene, the slow waltz
"Reflection"
has
again in deep-blue mode, exorcising all spirits -- good and evil -- from his soul and strings. Though this is not for everyone, the challenged listener should find this unique and different among the plethora of same-sounding jazz or fusion plectrists. There's a balance of shared responsibilities between the three and perhaps a healthy cynicism that pervades
's music, making it all his own. ~ Michael G. Nastos
Arnold
forges an alliance with bassist
Ratzo Harris
and drummer
Tony Moreno
to achieve his goal. Though it might not mean much to the average listener,
is employing the 12-tone row device (thus the title) as a vehicle for improvising. This is complex, heady, adventurous, open-ended music fronted by
's resonant, slightly steely, dusty, distant, single-note sound that straddles the line between jazz tradition and rock snarling.
wrote all seven selections here. The title track states a very brief melody before hurtling into improv, also not coincidentally based on a 12-bar blues framework.
"Seventh Street"
starts as hard bop and drifts into a rock beat, with
's ostinato chords and space signal effects as a foundation for
Moreno
's drum workout.
Harris
gets the spotlight in the middle solo for the ten minutes of
"Dialog"
with the extended techniques that only a master can employ. Guitar and bass counterpoint start this fracas with a beat, then no beat, then slight or suggested rhythms before
takes command on this most elaborate composition. More steady rhythmically is the 4/4 Afro-Cuban, churning
"Broadway Y2K"
with
's
Carlos Santana
cum
Robert Fripp
/
Adrian Belew
assimilations.
"Numbers"
is in two parts: the prelude is a deep-space exploration in rubato with looped guitar effects and groaning bass leading to quick hand percussion accents; then the meat of the piece goes into black-hole territory with call-and-response snippets of guitar and bass alongside gonging cymbals. At its most serene, the slow waltz
"Reflection"
has
again in deep-blue mode, exorcising all spirits -- good and evil -- from his soul and strings. Though this is not for everyone, the challenged listener should find this unique and different among the plethora of same-sounding jazz or fusion plectrists. There's a balance of shared responsibilities between the three and perhaps a healthy cynicism that pervades
's music, making it all his own. ~ Michael G. Nastos
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