The Neon Truth
Download links and information about The Neon Truth by Larry Ochs, Drumming Core. This album was released in 2002 and it belongs to Jazz, Avant Garde Jazz genres. It contains 8 tracks with total duration of 50:31 minutes.
Artist: | Larry Ochs, Drumming Core |
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Release date: | 2002 |
Genre: | Jazz, Avant Garde Jazz |
Tracks: | 8 |
Duration: | 50:31 |
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Tracks
[Edit]No. | Title | Length |
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1. | Wrong Right Wrong (featuring Donald Robinson, Scott Amendola) | 6:31 |
2. | Neon Truth (featuring Donald Robinson, Scott Amendola) | 4:20 |
3. | Give Me 209 (featuring Donald Robinson, Scott Amendola) | 2:45 |
4. | Finn Crosses Mars (featuring Donald Robinson, Scott Amendola) | 11:49 |
5. | Xanic Rides Again (featuring Donald Robinson, Scott Amendola) | 6:44 |
6. | And Nothing But... (featuring Donald Robinson, Scott Amendola) | 2:30 |
7. | Red Shift (featuring Donald Robinson, Scott Amendola) | 14:01 |
8. | Blues Keep Calling (featuring Donald Robinson, Scott Amendola) | 1:51 |
Details
[Edit]Inspired by Asian and African forms, Larry Ochs calls his sax and double-drum trio "Larry Ochs Sax & Drumming Core," and the minimal and unusual instrumentation is an effective vehicle for his intense improvisations. Known for his riveting work as a member of the avant-garde jazz group What We Live and the saxophone quartet Rova, Ochs' thick tone, overblowing, and forceful delivery evidence a relentless search for a sort of transcendental ecstasy fueled by the powerful strains of the drums. The saxophonist effortlessly navigates not-so-familiar terrain for the full length of The Neon Truth with varied emotions, and while most of the pieces evidence the sort of incendiary fire that usually characterizes his playing, there are exceptions, such as the introspective and equally compelling "Xanic Rides Again." The two drummers are virtually indistinguishable, never tripping on one another, and the limited palette is surprisingly turned on its face so that the group sounds like a bigger unit, in part the result of the saxophonist's endless stream of creative thrusts. While each composition might appear totally improvised, Ochs stresses in his liners that the trio is, at least in part, following a script, with "simple but not-usual rules and processes." While fans of Ochs may not find his playing here much different than elsewhere, the new instrumentation gives it a new perspective that succeeds in carving a small but exciting niche.