When the U.K. hard
drum 'n bass "duo" Spring Heel Jack began collaborating with
Thirsty Ear and their
Blue Series curator
Matthew Shipp, one doubts they had any idea that their own sense of proportion and direction would shift so far away from their source material as it has.
Sweetness of the Water is the band's fourth outing in the
Blue Series, and as such, it is their most provocative, challenging, and beautiful yet.
John Coxon and
Ashley Wales have become musicians in the old-fashioned sense of the word on this completely
improvisational outing. Their guitars, vibes, keyboards, trumpet, and hand-percussion chores equal and even surpass their sampling and
electronic contributions. In realizing this project, the "duo" once again turned to saxophonist
Evan Parker (who has been a fixture since 2000) and brought together a rhythm section consisting of
Mark Sanders on drums and
John Edwards on bass. In addition, trumpeter and vanguard composer
Wadada Leo Smith is present this time out. There are eight pieces on the set, none longer than eight minutes, the shortest of which is just under three.
Sweetness of the Water exists in a far less controlled environment this time out, and since the language is
free improv,
Smith and
Parker dialogue with one another uninhibited, and often, in unhurried, non-confrontational language. There are no intense flurries of engagement, but the lyrical communication is stunningly intuitive.
Coxon's electric guitar on
"Track Four" that opens the set walks slowly through the center as a bridge between the rhythm section and
Smith's gorgeously long lines. Harsh feedback and
improvisational elements are underneath the two main instruments, but they simply fill space with texture and layers of dynamic possibility. On
"Quintet," Parker and
Smith begin the first of their dialogues, with
Coxon again creating an edge for them to walk along. Pace, tension, and texture are the points of congress here, and they come together seamlessly as
Sanders and
Edwards dance around the edges, bringing them into sharper focus. Harsh
electronic sounds, drones, and an organ usher in
"Lata," as
Parker solos in the middle register. Pulse is the language of rhythm, though drums are absent. Think
My Bloody Valentine meeting
Gavin Bryars with
Evan Parker soloing and you have it. The intricate guitar and drum encounter on
"Duo" is a wooly and thoroughly engaging exercise in control and listening. But the recording's grandest piece,
"Autumn," closes the set.
Coxon's church organ blares out a majestic series of open chords as electric guitars, shimmering drums, and a confluence of lines by
Parker and
Smith punctuate the Wall of Sound. It's eerie, strange, and crystalline in its strange elegance and shifting dynamics where elements of drone and pulse are woven with multi-dimensional sonics and tight, restrained harmonics. The sonorities as they mutate and change shape are so haunting and pervasive they become their own esthetic.
Sweetness of the Water is not for everybody, but for those who like their
free improvisation drenched in beauty, this is your album. ~ Thom Jurek
