Customer Reviews

High Lines

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

With the addition of Terje Rypdal (guitar), Mark Marder (double-bass), and Frank Colon (percussion), mysterioso violinist Michael Galasso significantly expands the aural soundscape in this follow-up to his 1984 disc Scenes. How many other musicians wait more than two decades to come out with a second release? That's what Galasso has done, which, one supposes, does little to undo his reputation as a first-class musical iconoclast.

And the sounds contained in this provocative disc further that reputation. This collection of mostly miniatures mainly featuring the leader's unique violin stylings does open things out in the direction of jazz beat/chamber jazz/world metal styles--a quite beguiling mix, if you ask me. The inclusion of guitarist Terje Rypdal was a stroke of genius. The longtime ECM-label staple here plies his rock-tinged improvisational skills to maximum effect. Check out his playing on, esp., "The Other." The leader seems to restlessly shift from one soundscape to another, moving with ease from drone to Nordic fiddle music to world jazz to Gothic to New Music to classical to chamberish ambient to Middle Eastern sounds, all with stunning effect.

It certainly helps to have completely simpatico bandmates. And one could hardly ask for better interpreters than Rypdal, Marder, and Colon. Each brings a wealth of recorded and live-music experience, plus an ability to completely tune in to the weird vibe that leader Galasso exudes.

Certainly not for everybody, but anyone with an adventurous spirit looking for highly idiosyncratic but brilliantly conceived and played instrumental music will want to check out this remarkable recording.

'High Lines' was used as the soundtrack for the 2008 French film 'Séraphine,' which won the César for Best Film, among many other prizes and nominations.

Violinist/composer Michael Galasso has created something unnerving. This intense album has only Galasso on violin, a double-bassist, a percussionist, and a guitarist. iTunes places it in the genre of "Jazz," but I do not think that that is correct. Although whenever I have called anything "contemporary serious music" I have sounded like an insufferable snob.

It's very dark and haunting. It's composed around a drone motif. Well, anyway, if you listen to the clips and you're captivated by them, then you will love the album.

Michael Galasso's first release under his own name since 1984's Scenes consists of 16 aural vignettes covering a refreshingly broad scope of moods and styles. While listening to 30-second clips tells you very little about certain albums, in this case you'll find out all you need to know. Each track sets up a certain mood or sensation and maintains it, for the most part, throughout. Any development you get is relatively subtle. Calling this disc background music is certainly not an insult, but this music doesn't stand up to studied listening. Having said that, it is still, with a few notable exceptions, a beautiful album.

ECM's typically-pristine production captures the performances exceptionally well. Galasso's violin sounds gorgeous, and the different percussive textures that Frank Colón produces are almost magical. Nice double-bass work by Marc Marder as well. However, the guitar work of Terje Rypdal sticks out, and not in a good way. Take "The Other," for instance. Not even Manfred Eicher's sonic prowess can do anything to reduce the displeasure you get from hearing Rypdal's guitar tone. His is the reverb-drenched buzzsaw distortion tone that you hear 13-year-old nu metal shredders-to-be use as they test out import Strat copies through 15-watt solid state amps at Guitar Center. On this track and others, it spoils the otherwise-gorgeous sound of the album. In addition, some of Rypdal's playing itself comes close to noodling. Granted, he does have some nice moments, but I'd sooner not hear him.

Still, this is quite an intriguing disc, though maybe not one you'll continue to cherish for years and years.