| Review
There are guitarists
solo albums that range from mediocre to just pure speed/technique
showboating for its own sake, and then there are folks like Sal
DiFusco who really stand out for doing something more than a little
different.. And that difference is this; Sal can COMPOSE AND ARRANGE
as well as play. And better still, not only can he do all 3 with
equal excellence, but he goes the extra mile by investing each piece
with genuine soul, swing, passion,, melody, color and wit!
This is the third solo offering by Sal, and it shows some of the
most radical growth in Sal's writing and arranging palette to date.
For Sal, it's not just about planting a melody line against a few
clever chord changes and odd-time signatures. Far beyond that, Sal
has really deeply considered all his sonic and textural resources
and found very creative ways for them to interact with one another,
much the way a great composer/orchestrator like Duke Ellington or
Gil Evans would, but in this case, with an entirely different mindset
and vocabulary.
Overall, one thing that really puts the whole album over for me
is the way that Sal, though being the clear leader does not dominate
the proceedings, but rather allows each instrumentalist to paint
vivid colors on the greater canvas, choosing their colors and spaces
very wisely, and Sal himself does likewise, whether spinning off,
by turns angular, mysterious and compelling be-bop infused melodies
(Bop for Baione, What's Next?), rocking out and getting downright
funky at the same time (Hey Banacles, Behind The Veil!) or lulling
you off to some beautiful rain forest in Brazil (15 Years, Bye Bye
Mila)_, Sal does it with unflinching emotional power and conviction.
"Crucial Choices " demonstrates the emotional power so
vividly (you can really hear the contemplation), between its mysterious
chord progression that goes unexpected places and a melody line
that will haunt you for days on end. Part of what makes this work
is how Sal voices his soaring guitar with tenor sax and other subtleties
just underneath, such as Daniel McClain's wordless vocals. This
isn't a texture used real often but when Sal puts it to use, it
really enhances the proceedings. Sal's guitar tones are a great
example of variety and fullness. Whether pulling out the clean chiming
classic Stratocaster sound, spinning forth warm bop lines or turning
up the amps and letting fly with thick, slicing legato tones reminiscent
of Scott Henderson or Jeff Beck, Sal really does paint with sound
in a manner not unlike Degas or Monet did with paint.
It must also be noted that saxophonist Dino Govoni provides Sal
with a great melodic and textural foil. His playing at times evokes
the late Michael Brecker. Jordan Orvosh's keyboards are a model
of understatement and taste and appropriateness for each piece,
and he even gets off some great solos on "15 Years" and
a soaring Mini-Moog thing on "No Divisions". The drum/percussion
axis pushes things along with fiery urgency on most tracks, :The
Second Half ": being a great example of using one's resources
to their fullest. Drummers Mike Mangini and Casey Scheurell take
turns in the drum seat and along with percussionist Eguie Castrillo
in keeping a high level of excitement and creativity going. Bassist
Joe Santerre is what one would call a tasteful virtuoso on his 6-stringed
low frequency bass beast. Equally comfortable with warp-speed walking
jazz bass, rocking out with the restraint of a 747 gunning its engines
or laying down some greasy funk, Joe really digs into Sal's compositions
with the enthusiasm of a leopard having its freshly caught meal.
Joe 's solo on the warp-speed bop tune "What Next" should
leave NOOOO doubt that he's got the reputation he has around Boston
for a very good reason.
One of the real standout pieces is No Divisions, where Sal and the
musicians just pull out al the stops. No, it's NOT a shred-fest
(something this writer finds rather juvenile and done-to-death),
but rather, a grand showcase of creative and thoughtful arranging,
variety and melodic execution (that melody line I swear WILL haunt
you for weeks! Great use of guitar, sax and thick wordless vocals
to put it across) genuinely in the moment soloing and a sense they
were really listening to one another, all framed with an irresistible
6/8 groove.
The album closes on a contemplative note with "Vanishing Mist",
with a rare turn on steel string acoustic supported by spacey synths.
The melody just begs you to contemplate and consider just how precious
and short one's life really is and to make it count for something,
a driving force that informs Sal's music from first note to last,
that one's life truly is a gift and not to be wasted. Of ANYTHING
Sal has recorded, this is a gigantic leap forward for him on many
fronts and if any indication, is a harbinger of greater things to
come from Sal's composer's pen.
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