Deep State:  Guerino Mazzola & Alex Lubet

This album is the culmination of eight years of collaboration, including weekly sessions of pure – and practiced – improvisation.  After a period of experimentation with larger ensembles, we determined that the kind of unit cohesion that only comes from hundreds of hours of playing and listening together by the whole ensemble, as small as it is, would be our priority.  This recording is, we believe, an affirmation of that belief borne out.
 
Our commitment to a musical spontaneity grounded in lifetimes of preparation has evolved into a kind of post-genre sonic/stylistic signature.   Grounded initially and obviously in free (and all) jazz, this music is also audibly informed by the totality of American vernacular traditions – most obviously but hardly limited to the blues – and enriched by Western Classical Modernism and ideas from Africa and points East.  We have arrived at this synthesis naturally and without pre-calculation, simply by being seriously open, both to vast worlds of music and to each other’s playing, the latter by having an imaginary time consciousness of gestural shapes, in which understanding equals catching the gesture and continuing.  The intensity of instantaneous improvisatory responsiveness yields a sense of coherence and clarity that is quite different from score/recording-based composition -- in that it owes less to repetitive form and development -- while matching the intellectual rigor of such fixed media creative processes.  Of utmost importance is an affirmation of “less is more;” a time/space where timbres – emanating from our unique instrumentation and an arsenal of both traditional and extended playing techniques -- and rhythms – derived from an exceptionally worldly time consciousness -- abound, flowing out of an orchestra of two sans drums.

 
 
 

Spectral Blues

Alex Lubet was born in Chicago in 1954. A composer-performer on the guitar his music is rooted in the Blues and in Eastern music. Nevertheless it would be a mistake to presuppose from those dual influences that his music is in any way predictable or formulaic. It is intricate, refined, allusive and often quiet.

Reliquary Dances was composed in 2003 and recorded the following year. It was Lubet's first solo guitar composition and employs Blues and East Asian scales. To these elements he adds bent notes and multiphonics, amongst other devices. Such include percussive moments as well as evocations of bottleneck guitar playing. Lubet would doubtless cite John Lee Hooker as an influence; I hear Ry Cooder, though maybe through Hooker's prism. The most extrovert piece is the final one; it's also the longest. Elsewhere tone colours are wide and subtlety is at a premium.

Eight Ouds is the best pun I've heard in a while (try saying it aloud; Etudes). They may well be based on the Blues, as Lubet suggests, but this is a long way from Muddy Waters. The music is quite remote and allusive, though when Lubet does break free, as he does in the second Oud, it's a more untrammelled performer evoking the 12 bar Blues with brio. Timbral felicity remains the name of the game in both these sets. East Asian scales are omnipresent and I hear Balinese or Javanese music most overtly in the last of the Ouds.

This specialised disc is for lovers of quietly voiced virtues.

Jonathan Woolf
MusicWeb International

 
 
 

The Enchanted Guitar Forest

…This is a truly delightful recording, displaying the many wonderful characteristics of the broader guitar family through sensitive idiomatic writing and arranging, and equally sensitive and wonderfully expressive guitar playing. A beautiful recording, and a must listen for those who enjoy the best of new contemporary guitar music…

Full review by Nicole Neal

…Lubet and Radovanlija are both accomplished guitarists, and together they make some totally absorbing music that creates a definite mood. Session producer Steve Barnett and session engineer Preston Smith did one helluva job capturing the essence of the guitar sounds here. The slight reverb on the guitars when they're barely audible is nothing short of amazing. These two guitarists obviously love making music, and that comes through loud and clear on all twelve compositions…

Full review by Don W. Seven