1/ Dust (Naked Truth) 7.37 2/ Dancing with the Demons of Reality (Naked Truth) 4.07 3/ Garden Ghosts (Naked Truth) 9.01 4/ Orange (Naked Truth) 5.05 5/ Right of Nightly Passage (Naked Truth) 5.05 6/ Yang Ming Has Passed (Naked Truth) 5.21 7/ In a Dead End with Joe (Naked Truth) 4.45 8/ Neither I (Naked Truth) 8.46 Recorded in October 2012 in Orange Studios (NJ) Engineered by James Dellatacoma P@'s drum parts for tracks 2,4,6,7 and 8 recorded by P@ @ P@'s place in Dripping Springs (TX) Lorenzo's Bass, guitar and keyboard parts on tracks 2,4,6,7 and 8 recorded by Lorenzo @ Cat&Dog Studio, Rome (Italy) Mixed by Bill Laswell Produced by Lorenzo Feliciati Executive Producer: Giacomo BruzzoRoy Powell: Fender Rhodes, Hammond B3, Prepared Piano, iPad; Graham Haynes: fx, cornet; Lorenzo Feliciati: electric bass, electric guitars, keyboards; Pat Mastelotto: acoustic and electronic drums, percussion.
2012 - RareNoise (UK), RNR029 (CD)
While keyboardist Roy Powell brings the deep throbbing ambient vibe to the forward moving compositions, it is definitely Feliciati (who also doubles on guitars) who brings the delightfully hairy and sticky textures to each of the eight pieces offered on this release. Lorenzo plays very creatively for this group, and it is nice to hear him in this context! Throughout the offering, Pat Mostelotto’s drumming is alive, clean, percolating and far beyond mimicking a simple drum loop! Pat kills it on the track, “In A Dead End With Joe”, which is also the CDs coolest example of this band’s interplay.
The group worked closely with producer Bill Laswell throughout Ouroboros and Bill also leaves evidence of his textural handiwork in very easy to find locations along the aural pathway. This is truly fun music that easily displays the electronic music format while purposely leaving behind the wonderfully idiosyncratic touches of the visceral and human at every step!
Must hear tunes: Orange, Yang Ming Has Passed, In A Dead End With Joe, Neither I
Brent-Anthony Johnson (courtesy of the Bass Frontiers website)
Controlled sonic fury...The sophomore offering from Naked Truth will hit the street on October 23th with avant-jazz cornetist Graham Haynes replacing the original trumpeter Cuong Vu. Ouroboros is cutting edge which is typical for RareNoiseRecords as they continue to take contemporary electric instrumental music and create a hybrid that defies accurate description and that my friends is a beautiful thing.
Poly rhythmic power house drummer Pat Mastelotto along with electric bassist and producer Lorenzo Feliciati anchor this 4tet while Roy Powell adds the harmonic flavor on Fender Rhodes, Hammond B3, piano and synthesizer and perhaps the most individual voice on cornetist Graham Haynes fuse together a raw but bold ambient sonic exploratory that is a natural progression from their critically acclaimed debut release. Haynes has worked with self described "musical terrorist" Bill Laswell so the fit with bassist Feliciati is hand in glove. Ouroboros is more of a jazz collective and a truly collaborative effort that hits from the visceral and cerebral sides of the musical plate. Structured but with an open ended harmonic intensity that seems to stress that the conventional creativity limitations that are often self imposed be cast aside. Bill Laswell produced the final mix of Ouroboros and fans of Laswell's work will in all likely hood be able to see his finger prints on the end result.
The opening tune "Dust" is a yin/yang rhythmic feast from Mastelotto and bassist Feliciati. A spatial all most three dimensional sonic depth of field is created with Powell's piano and Haynes lyrical cornet played in half-time. "Garden Ghosts" is an eclectic somewhat cinematic tune that showcases the bands ability to change dynamics and harmonic direction while losing none of their creative edge. A definite lyrical sense of purpose without the pretentiousness one might expect from four heavyweights. "Yang Ming Has Passed" is a perfect showcase for perhaps one of the most under appreciated bassists in Lorenzo Feliciati. Mastelotto owns the pocket with the finesse of a surgeon and his percussive nuances add to an odd metered groove while Haynes syncopated muted cornet lines are likely to make some think of Miles Davis in his later years.
A powerful recording where creativity runs wild and the improvisational genius of the collective is as one. Ambient synergy that can be best described as a mysteriously beautiful experience more so than simply a "recording." RareNoiseRecords and Naked Truth have once again delivered the goods.
Brent Black (courtesy of the Critical Jazz website)
If you take electric instruments, jazz instruments, rock guitar, and add in some ambient noises and strange programming, what do you get? Well, I can’t say that I know the answer to that. Ouroboros is eclectic, to say the least. Their mixture of modern electric instrumental tunes is quite the spectacle. In fact, I don’t quite know how to explain their sound. Each song is such a unique blend of sounds and different vibes that they’re hard to pin into any sort of genre.
Former King Crimson and Stick Men member, Pat Mastelotto, uses his experience to contribute his own eccentric sounds to this endeavor. Unlike his past bands, this one has no structure. Flow of expression is exactly what they wanted. Improvising with instruments such as the electric cornet, trumpets, acoustic and electric drums, electric bass and guitars, a Hammond B3 and more, these four men have accomplished controlled chaos.
The second track, “Dancing With The Demons Of Reality” has a funk rock beginning, mixed in with some big band trumpet sounds. It almost sounds like a bizarre circus soundtrack. A minute later, an organ is added into the equation, making this song even more complex. The tempo fluctuates throughout the four minutes. The interesting thing about Naked Truth is that each person forms his own sound. They separately come up with parts and fit them together to form each song.
A blend of delicate symbol taps and trumpet fill the air on “Garden Ghosts.” The simple drumbeat evolves into an elaborate affair about halfway through, as the trumpet suddenly takes over. The fifth song, “Right Of Nightly Passage” is more rigorous. The electronica beats are harsh and fast-paced, but the prepared piano calms down the clutter.
Through the noise and madness, there is beauty. Without the horn sections, this album would be uncontrolled. The strength of the brass blended with the intensity of electronic instruments creates a balanced sound. Even with the chaos, there is a sense of harmony between these four men.
In A Word: Interesting
Sara Fazio (courtesy of the The Aquarian website)