The collision of free jazz and synth ooze makes for a unique and thoroughly enjoyable listening experience, with the tracklist simply a numbered suite to immerse yourself in. Parts III and VII are duos between Phillips' bass improvisations and the eerie glow of Feichtner's synths, cut from a 40-minute free-form session (imagine that in its entireity sitting in Eicher's vault somewhere...). The closing piece makes good use of a happened-to-drop-by John Abercrombie, adding another texture to this singular record.
pw: sgtg
O, brave new world that has such people in't! [William Shakespeare »The Tempest« (1611)] - https://lianahelas.blogspot.com/2020/05/bzw-come-unto-these-yellow-sands-for-2.html
ReplyDeleteThanks Alan!
ReplyDeleteDear SGTG, thank you so much for this jewel from the BP crown. Got this CD aged 17, it well and truly opened mountain-sized vistas onto life, music, the cosmos... I have also wondered ever since about that 40' bass - synths duet in the Eicher vaults! According to Phillips' liner notes for "Three Day Moon" (their second ECM outing together and a must, featuring Terje Rypdal and Trilok Gurtu) Feichtner had a PA mounted on an ice-cream van, which he'd drive into the woods and play his synths there, among the birds n trees. Another singular talent, for sure. Here they are with Surman in Germany, the year of "Mountainscapes"' recording. https://www.youtube.com/watch?v=YJokiq8fUh4
ReplyDeleteLovely, thanks very much.
ReplyDelete