| 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.
|
