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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Paul Flaherty
t i t l e : Voices
d a t e : 2003
l a b e l : Wet Paint 3002
g e n r e : Jazz
r l s. d a t e : June/2004
t r a c k s : 09
b i t r a t e : VBRkbps
s i z e : 110,4 MB
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To celebrate our 4th anniversary, HiT2k brings you a rush of
releases from all over the musical map, but never within the
borders of the mainstream! Why not take this time to try
something new, and peek in the strange dark corners of music
where so many are afraid to? Many thanks to all the groups and
kindred spirits who've supported us and taken chances!
In the past thirty years, the scope of free improvisation has
widened significantly, and itÆs now common for improvisers to
look to modern classical music, electronic music, environmental
sounds and non-western music for inspiration. Performers like
Joe Maneri have developed new ways of using microtones, while
others, like nmperign, have moved away from free improv's usual
line-based approach to phrasing by emphasizing texture and
space. Spunk and others have played improv with electronics and
punk rock attitude, while George Lewis has developed programs
that allow live improvisers to interact with his computer. Paul
Flaherty couldn't care less about any of that. His screaming
saxophone playing recalls the loudest, craziest-sounding free
jazz musicians of the 1960s and early 1970s, including Frank
Wright, Noah Howard and Albert Ayler, without much of a whiff
of any of the new ideas in free improv since then. Flaherty's
music sounds like the last thirty years never happened. While
Flaherty might not be especially forward-thinking, though, he's
definitely thinking -- his music is so perfectly executed, so
packed with compelling ideas and smooth transitions, that it's
easy to ignore the fact that his music is so unabashedly retro.
On Flaherty's excellent last two records, 'The Hated Music'
with Chris Corsano and 'Sannyasi' with Corsano and Greg Kelley,
Flaherty provided a center of gravity around which the other
musicians revolved -- Corsano and Kelley often played
stuttering flourishes that contrasted with Flaherty's sustained
howls. On 'Voices,' Flaherty's new solo album, his approach is
similar, though the effect is different. 'Voices' features some
reflective bluesy playing and aggressive low-register honking,
but much of the album consists of tangled high-pitched runs and
screaming multiphonics. Without any other musicians to create
the sort of interaction that drove 'The Hated Music' and
'Sannyasi,' much of 'Voices' feels like a single sound rather
than a collection of related ones. Listening to 'Voices' is
like an unexpected blast of cold water during a hot shower,
only more pleasant -- it's an overwhelming and shocking feeling
that's impossible to ignore until it's over. So in a way,
'Voices' is even more similar to early-1970s over-the-top
ecstatic jazz than Flaherty's previous work. 'The Hated Music'
was hectic and aggressive, but Flaherty and Corsano also played
very sensitively, listening to each other closely and reacting
quickly. On the other hand, Dave Burrell's 'Echo' and Alan
Silva's 'The Seasons' (two free jazz pieces from 1969 and 1970
to which Flaherty has undoubtedly listened closely) depend not
on careful interaction, but on sheer force. Both are so dense
that it's best to stop trying to pick out individual voices and
just let the music punish you. Flaherty doesn't have the sheer
numbers that Burrell or Silva had, but when I turn up the
volume on 'Voices,' Flaherty destroys me in a similar way. -
Charlie Wilmoth, Dusted Magazine
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01-A Few Moments of Mortal Time [07:00]
02-Windowed By Her Eyes [08:11]
03-Song for Bobby Sands [15:57]
04-Little Death [04:12]
05-Simple Light [03:50]
06-You Can't Go Home Again [05:52]
07-But We Will Keep The Secret [08:15]
08-Our Tears Are Always Young [09:56]
09-Once You Care... You Always Care [08:09]
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71:22 min
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