Recommended by us on 18th March 2009
...according to our Business Lady on Wed 18 Mar, 2009.
Passport to Satori is a collaborative effort from U.K. freeform super dude Alex Neilson (tight meat duo, Directing Hand, MV&EE, Will Oldham and many more as I'm sure you'll know) and Nmperign trumpeter Greg Kelley released on the consistently excellent GoldenLab records. This is a full on manic attack of freeform drums and mind-boggling trumpet abuse. Never have I heard such wild trumpet playing and for this Greg Kelley should be applauded (applause!!). I assume that there's some stealth use of effects pedals to enhance what is already an inventive use of the brass but its almost impossible to believe the array of sounds he manages to conjure from the humble trumpet. Crazy crazy crazy......Alex provides a perfectly infinite landscape of bells, broken cymbals, woodblocks and toms that make Greg's job ultimately easier and more enjoyable whilst contributing greatly to the overall feel. Again, its not easy to put this record into words that could do it justice so you'll have to make the time to check it out for yourself. I guess this record covers everything from free jazz and concrete to no wave whilst giving the middle finger to the whole notion of improv sub-genres. An awesome collaboration and an excellent release from Golden Lab. Also worth mentioning that they look like street tough muthafuckers on the cover. Badass!!!This beautiful super-heavyweight LP, which comes packaged in a sweet full-colour sleeve reunites the UK's premier free drummer Alex Neilson, who's played, amongst others, with Motor Ghost, Directing Hand, Trembling Bells, Tight Meat Duo, Josephine Foster, Bonnie 'Prince' Billy, Jandek, MV&EE, Richard Youngs, Baby Dee and Alastair Galbraith, with Nmperign member Greg Kelley, whose reinvention of the trumpet is as crucial now as Anthony Braxton's reinvention of the sax was 30 years ago. A screeching, soaring, scattergun array of noises come maniacally out of Greg's horn, unlike anything we've ever heard and he successfully straddles no wave, concrete and free jazz in a way that makes those genres seem like trite pigeonholes.
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