2 down, one to go ...
Troy Collins | Lancaster, PA United States | 08/07/2005
(4 out of 5 stars)
"Thirsty Ear's Blue Series imprint has long been known for its adventurous crossover projects, from the unlikely merger of underground Hip-Hop and Free Jazz on "Antipop Consortium vs. Matthew Shipp" to the radical summit meeting of DJ Spooky, Dave Lombardo (Slayer/Fantomas) and Meat Beat Manifesto on "Drums of Death." Bridging the ostensibly divergent worlds of improvisational Jazz and rigorously structured Electronica and Hip-Hop, no other label has had as solid a run as Thirsty Ear has.
"Longitude" is the second entry in Thirsty Ear's documentation of Groundtruther's proposed trilogy. Guitarist Charlie Hunter and Percussionist Bobby Previte's collective trio with a rotating third member has only one previous release under their belt, 2004's "Latitude." Joined by saxophonist Greg Osby, the trio elicited a program that was adventurously elliptical and a harbinger of things to come.
Beginning with 2003's "Come in Red Dog, This is Tango Leader," Hunter and Previte's collaboration has grown beyond its humble beginnings. What was once a groove oriented duo project with a tendency towards atmospheric production and the occasional experimental foray, Groundtruther has morphed into an altogether more unpredictable entity.
Recording live in the studio with added guest DJ Logic on turntables, Groundtruther has ventured even further from the jazz mainstream to find itself straddling the fence separating the worlds of improvised rock and electric jazz. Jazztronica is still an untested term, but one would be hard pressed to find a better euphemism for the tasty playing found in the grooves on this record. The traditional concept of jazz swing is decidedly absent, but the rhythmic pulse and improvisational spirit of jazz definitely informs these proceedings.
The rhythms are as diverse in their origin as Dub, Funk, Hip-Hop, Jungle and Drum-N-Bass. But there is also a heavy, Bluesy Classic Rock feel to these sessions as Hunter's guitar belts out one acid phrase after another while Previte pummels the skins mercilessly. "Dead Reckoning", "Prime Meridian" and "Jupiter Mask" suggest what Black Sabbath might have sounded like had they been influenced by mid-1970's electric Miles Davis. Previte lays down thunderously aggressive beats, DJ Logic samples bleating horn sections and squalling saxophones while Hunter just burns over the churning rhythm with chunky fragmented chords and screaming long guitar tones.
DJ Logic's choice of vinyl source material for scratching and looping is so well suited to the trio's concept that it almost sounds as though he isn't even present, so deep-rooted and intertwined is his contribution. His manic scratching is heavily featured in a frenzied duet with Previte's live and sampled drums while Hunter grinds out a distorted ostinato on the Drum-N-Bass inspired "March 1741, Cape Horn".
The most surprising sonic derivation is not DJ Logic's turntablism or Bobby Previte's inventive flourishes from his electric drum kit, but Hunter's increasingly nasty guitar tone. Channeling Hendrix at points, Hunter plows through the rhythms with twisted and bent tones dosed with an acidic sheen that sound light years before his time. Listen to the stinging guitar lead of "Jupiter Mask" for ample proof. It is a bold new direction for him and a refreshing departure from his low-key signature sound.
The entire affair isn't all full-on burn however, there are a few moments of introspective reflection. "Epherimedes" and "South Heading" materialize in the final stages of the record, for an almost chill effect. Melody is ever present, no matter the energy level of the piece. The opening "Transit of Venus" with its repeated descending melody line and layers of sampled voices, flirts with pop song tunefulness, locked down with a groove so tight one could imagine it appealing to jam band fans as easily as indie rock kids.
More aggressive, funky and propulsive than "Latitude" or anything else in Hunter and Previte's catalog (including his electric bar band - Latin For Travellers), "Longitude" is a must hear for those interested in the possibilities of combining the tonal colors and driving rhythms of rock with jazz's improvisational sensibility."
Buyer Beware
The Delite Rancher | Phoenix, Arizona | 04/06/2008
(2 out of 5 stars)
"Charlie Hunter is one of my favorite guitar players. I've seen him live and I have about a dozen of his audio releases, all of his DVDs and numerous live recordings. I also enjoy Turntablism. For example, I enjoy Project Logic and adore DJ Logic's work with Medeski Martin and Wood. I believe that Bobby Previte always makes a good supporting musician. Thus my rating is not due to an irrational bias against any of the musicians or the nature of the project. "Longitude" is rough on the ears despite a fascinating premise and a talented team. This disc sounds like it was a jam session between three musicians who are playing together for the very first time. Along these lines, "Longitude" doesn't feature any actual songs. Rather the music wanders through a maze of digital and analog weirdness. Many of the faster pieces are a discordant and meaningless mixture of sounds. This lack of direction makes it sound like the musicians couldn't hear each other while playing. That written, there are a couple of brief moments of focus, when the musicians cut through the haze and play an interesting and compelling groove. 'Back Quadrant' is one such highlight. DJ Logic can't take all of the blame. Charlie Hunter's riffs are banal and monotonous. Compared to the other Groundtruthers, both Hunter and Previte gave their least inspired performance on "Longitude." As a result of such issues, "Longitude" is the weakest third of the Groundtruther trilogy. If you're curious about this series, start with "Altitude." Most listeners won't be unable to get through this entire disc once. Notwithstanding the other glowing reviews, I can't imagine anybody playing "Longitude" more than a couple of times."
Track Listings (12) - Disc #1