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CD Reviews

DIANE MOSER QUINTET: Looking Forward, Looking Back
TWIN RIVERS RECORDS, 2002

There’s nothing like a live recording to separate the men from the boys, or the hotshots from the wannabes, as it were. You simply can’t fix it in the mix. And when the content consists of extended jazz jams of original works, the bar is set that much higher. Nevertheless, the Diane Moser Quintet of pianist Diane Moser, saxophonist Bob Hanlon, trombonist Ben Williams, bassist Andy Eulau, and drummer Barbara Allen heed the call and clear that self-set bar.

The result is some seriously highbrow instrumental jazz that is urbane and intricate though easily enjoyable. Tightly wound yet sparingly rendered, the compositions of Moser, Hanlon, and Williams—each have two pieces—are brought to exquisite life. The arrangements and performances keep the listener engaged but not anxious. There’s room to breathe here even as each of the players gets more than a few moments in the sun for some decidedly ornate step-outs.

Moods ebb and flow throughout the individual tracks and the collection as a whole. Moser brings it home, quite literally, to close on a sentimental note with a quiet piece entitled “For My Mother.” It’s a tender coda for this grand opus.

—Kelly McCartney

PAULINE OLIVEROS & REYNOLS: The Minexcio Connection
ROARATORIO, 2003

Fact: Certain recordings are destined for vinyl, particularly if the musicians in question are prone to full frontal fret (e.g., can one truly appreciate Nick Cave on CD?). Minexcio is another deviant example. These artists are obviously aware of the Fact, because they had the gumption to make a “record”.

I wouldn’t call this LP dark. I’d call it black. These netherworldly auralscapes are part Steve Roach, part Planet of the Apes soundtrack, and just when you think it couldn’t get any more sinister, you spin side two and your mullet flips clean off. Electro pro Pauline Oliveros (Deep Listening) teamed up with Argentinean group Reynols at Rosendale Cafe to record four lengthy live tracks for your listening displeasure (Oliveros originally composed “Six For New Time” for Sonic Youth’s Goodbye 20th Century LP). Hypnotic throat-singing mingles with ominous enviro-drones and groans, didgeridoo, cow’s nails, et cetera, to haunt your bleakest grotto or torture chamber on days when the veil between worlds is micro-thin.

My only complaint is the applause, but if you’re on a shamanic journey to the infernal regions, it’ll help bring you back to the planet’s crust. Visit www.roaratorio.com to purchase for a fabulous $14.

—Sharon Nichols

JOSHUA PEARL: Fool For Beauty
LET IT OUT PRODUCTIONS, 2002

Joshua Pearl is one of those Woodstock musicians better known within the music community—where he works as a music coach to pop idols and lends his keyboard virtuosity to various singers and stage productions—than to the listening audience at large. This self-produced album of 18 solo piano pieces is a rare showcase for his talents and taste, with covers ranging from Ellington (“Prelude to a Kiss”), to Rogers and Hart (“You Took Advantage Of Me”), to Gershwin, Berlin, and Monk (“Misterioso”). There are also a few tasty originals, including the Roy Rogers-meets-Robert Johnson “Cowboy Blues” and the beautiful, too brief “That Would Only Break My Heart.”

Pearl’s spare arrangements, loose rhythms, and casual left hand technique are well suited to these selections, and the engineering, by Julie Last and Ian Turner, makes for exceptionally clean and clear recordings. Usually I’m partial to songs with vocals, but under Pearl’s hands the piano attains a fascinating voice of its own. It’s a classy, beautifully produced album.

Fool For Beauty can be bought online at Amazon.com. For information on upcoming local performances, call (845) 679-7599 or e-mail foolforbeauty@letitoutproductions.com.

—Todd Paul