Music Reviews

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Artist: BRUCE EISENBEIL SEXTET (@)
Title: Inner constellation
Format: CD
Label: Nemu (@)
Rated: *****
I’m always quite curious when I happen to see line-up conducted by guitarists, above all jazz guitarists, be it I’m a guitar player myself or simply be it during the early days of jazz the instrument was a bit snobbed... or maybe it just has to do with the fact unbeatable Bailey came from there. To put it clear immediately, consider that thought working in an idiomatic way Eisenbeil is not one of those reactionary jazzists cloning his heroes and playing that sterile shit just good for a night at Blue Note where you’re having your very expensive dinner, with your even more high-priced Armani suit on. Eisenbeil plays in a clean way, sure, but at the same time he’s intrusive and dissonant and yes, he resembles a bit Derek Bailey here and there, but that’s just good since he’s far from being a copycat. That said, even if I’ve just wrote about the guitar player, add this’ a sextet and you have also drums, acoustic bass, trumpet, alto saxophone and a violin and they’re really well combined. The twenty-seven tracks composing the first song portray an errant tentacular guitar facing a Ornette Coleman meets Sun Ra meet Davis ("Filles de Kilimanjaro" era) scenario, but the interesting thing is that even if every element of this twenty-seven parts suite is basically one or two minutes long, the whole construction is homogeneous and sounds like a whole "stream of consciousness". In the most of the tracks you don’t have that dialogue/juxtaposition between the musicians like in many Coleman’s works, but you have some parts of the sextet moving at a length while some other are walking at a different speed on another level, but all is done in a really "organised" and "prudent" way (that’s why I mentioned Davis). While the modus operandi of the ensemble is different, the atmosphere of the 28th and 29th tracks is quite similar to the "inner constellation" suite, it’s with the closing "receding storm" that the context changes bringing forth a quasi-melodic jazzy/spanish guitar. In this closing episode the guitarist’s style is still personal, demonstrating he developed well his musician’s personality. This’ a good example of harmonic groovy "free jazz", or that’s how they call it, and it’s also one of those records that shows how written parts and improvising skill can still coexist in a genre that sometimes risks being killed by its glorious past.






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