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Noring / Day - s/t

-part 1
-part 2
-part 3

Session improvisation 4-21-01
Brian Noring: organ, piano, percussion, guitar
Bryan Day: guitar, sculpture

(Dead Angel no.47) This is a fair bit more restrained than many of PE's outings. Three duets between guitarist Bryan Day and pianist Brian Noring, where treated guitar collides with extremely "free" piano motifs. On "Part 1," the piano is clean and bright, upfront in the mix, with Day's guitar muted in the background -- sometimes plinking along, sometimes providing a noisy counterpart, sometimes impossible to distinguish from the piano. The mix is reversed to a great extent on "Part 2," with the guitar upfront and making peculiar noises, while Noring plays an organ in the background, deliberately invoking perverse chords and swelling drones from time to time. The sounds on this one are more abrupt and noisy, the dynamics more intense, and the effect marginally more chaotic. "Part 3" returns to the overall sound of the first movement, but there's a bit more happening, and a shift toward actually recognizable rhythms from time to time. Exotic and experimental in the vein of AMM or Bill Horist, perhaps.... -RKF

(Rate Your Music) In the field of modern improvisational music, by necessity there are winners and losers. Strong pieces and weak pieces. Leaders and followers. Mr. Day and Mr. Noring, on this release, are ahead of the pack of current basement/garage improv outfits. What we have here are three completely imrovised 'free' tracks of the very 'out' variety with a massive array of influences/inspirations. The first track, 'Part One-31:38', begins with Noring tinkling the ivories in a Brubeck-on-quaaludes manner, backed with (I presume) Day's ultra-primitive D. Bailey inspired guitar plucking. The piece slowly evolves over the course of a half hour, with bits of percussion weaving in, out, and around the mix. Ideas are introduced which change the 'feeling' of the piece in very subtle ways, and the overall theme of the album is established by around the 20 minute mark. Except that things change a bunch during 'Part Two-19:06'. Obviously included to throw a 'change-up' during the middle of the album, this track bends the formula of the first into the shape of infinity, adding way more chaos and noise. At around ten and a half minutes, a very F/i sounding synth/electronics drone enters the picture, and we are no longer in Kansas anymore, Toto. Then, at twelve and a half minutes, an 'If 6 was 9' sounding flute begins fluttering away, totally bent and wasted, and burning through the atmosphere's ether at a steady pace. Finally, Noring's quiet piano playing resumes, and the peak is over. Then, it's time for reflection. 'Part Three-16:15' goes back to the theme of the first cut, but somehow things have evolved greatly. Noring's piano is no longer lethargic, and instead smoking some of the same bohoofus that Cecil Taylor did in the early 70's. The guitar gets busier, too. They way the whole thing winds down is kind of genius. When the music's over, the true free/improv lover will feel satisfied. In these days of blind patriotism, McDonalds, rigged elections and staged events, it's good to know that some people refuse to color within the lines, or even acknowledge the presense of the paper, and choose to color their own universe instead. An absolute winner. Ride on..... - Chad Kelsey

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