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| 4.840 Ft
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| 1. | A Mug Like Mine
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| 2. | Cause For Concern
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| 3. | Suspended Head
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| 4. | Harbor Child
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| 5. | Lowered Boom
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| 6. | Lucia
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| 7. | Ghost of the Pi&
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| 8. | Blood Drawing
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| 9. | Slipped Away
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Jazz
Recorded at The Bakery, North Hollywood, California in August 2001
Nels Cline - Guitar
Devin Hoff - Bass
Scott Amendola - Drums, percussion, loops
Guitarist Nels Cline calls his new trio The Nels Cline Singers even though there are no singers in the band. He calls the album, Instrumentals... well, because there are no singers in the band. These Singers feature the protean musical skills of Devin Hoff on contrabass, and Scott Amendola on drums and electronics. Then of course there's Nels' amazing guitar work, which has inspired Jazz Times to call him, "The world's most dangerous guitarist." For more information go to the Spotlight on the home page. For a taste, go to CryptoRadio by clicking on the buttons to your right..
Alternative Press (5/02, pp.80,82) - 8 out of 10 - "...Gritty urban blues, thrash and edgy experimentation are Cline's forte, but he has enormous technique, a wide range of musical taste and a way of putting [his] stamp onto whatever [he] does..."
The Wire (p.60) - "Think of the group as a technologically enhanced version of the power trio at its most virtuosic....They've happily traded a measure of jazz finesse for the sheer, ecstatic, cranky noise of rock."
Down Beat (June 2002, p.72) - 3.5 out of 5 stars - "...Starts with a nasty bite, [but] by the end, it's all country grace and good manners..."
JazzTimes (7-8/02, pp.92,94) - "...There's certainly a lot to admire about what Cline is doing....using feedback, dissonance and manipulation of tuning with taste and sophistication..."
Very quietly - or not so quietly, Nels Cline has become the crown prince of avant-garde guitar. His constant gigging, recording and undying spirit have made him the leader of a genre that, by its very nature, is doomed to ride the outskirts of the music biz. Their loss. On Instrumentals, Cline roams freely in the guitar, bass and drums format that allows him to fully do his thing: freaky looping, dissonant shard of notes, speed metal rave-ups, and a killer bluesy excursion on the tune "Lowered Boom." Hell, with a list like that, you're probably asking yourself, "What's not to like?" My sentiments exactly.
---Darrin Fox, Guitar Player Magazine [May, 2002]
This inscrutably titled disk features guitarist Cline's new power trio, with Devin Hoff on contrabass and Scott Amendola on drums and percussion (as well as loops, live effects and processing). There are no singers, and no vocals. Other guitarists on the scene might trump Cline with a single defining attribute - funkier, flashier, more lyrical, whatever. But I can't think of anyone right now who covers more musical ground than Cline, or who covers it half as well. You can hear everyone from Jim Hall to Sonny Sharrock here, depending upon the tune or the passage. In fact, Cline showcases so many different moods and styles that the initial effect can be a little disorienting. You have him pegged as one thing, and then he comes at you from a new direction. However, Cline is not just a musical chameleon. He always surrounds himself with strong players, and gives them ample opportunity to display their skills. This trio is fully interactive (no mere time-keepers here), and the two other members maintain a running dialogue with Cline, echoing, reinforcing and commenting on his lines. Hoff, in particular, often figures prominently on bowed bass. The solid group dynamic gives the music a continuity and cohesion beneath all the surface variation. On Instrumentals, Cline himself often favours a thick, somewhat overdriven sound, tending toward dirty or even positively filthy (as on "Lowered Boom," a truly hardcore electric blues). The opening track, "A Mug like Mine," teases a simple melody line almost to the point of obsession, in much the same way that John Coltrane played with all the possibilities of a simple riff or phrase in his later work. (On Cline's remake of Coltrane's Interstellar Space with drummer Gregg Bendian, he proved himself to be a superb Coltrane interpreter.) Cline also understands the visceral impact of a good strum, and has added some thrash elements to his musical vocabulary. (The relentless "Cause for Concern" sounds like a synthesis of Sonic Youth and the Mahavishnu Orchestra). That having been said, Cline is hardly predictable, and he can certainly play pretty for the people when he has a mind to. "Lucia," which follows the greasy "Lowered Boom," is so spare and understated as to be well nigh invisible at first, and has a wistful minimalism very reminiscent of Jim Hall. The CD's closing number, "Slipped Away," is reverbed and ruminative, bringing to mind the work of Ry Cooder and Bill Frisell. And while "Ghost of the Piñata," is uptempo, Cline's twelve-string chimes and rings with crystalline clarity. Every track on this CD is a winner, and with a recording as fine as this one, Cline is identifying himself as a major force in the world of electric guitar.
---Bill Tilland, BBCi [April 17,2002] |
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