Steve Adams brings a plethora of woodwinds to team up with Tim Perkis’ electronic gizmos on 14 “Eccentricities.” Are they songs? More like ideas with instruments.
Scrolls.” Tenor squawks on “ A Blind Man..” and toying with the reed and mouthpieces make “Inextricable” a series of sound effects, while some flute work on “The Shadowed Grass” contrasts with reminiscences of a TV test pattern on “Travelers On The Plateau.” I used to love sound effect albums as a kid; this one reminds me of those days.Kyle Motl takes his bass on a journey with saxist Drew Ceccato on four free form tunes. The fingers scurry frantically along with Ceccato’s fluffy tenor on “Oroshi” while still keeping bop ties, and slither up, down and across the neck as the tenorist gets laconic on the sighing “Koembang.” Ceccato’s tenor sax huffs and puffs alongside Motl’s pulsating strings during “Frohn” and both get fluid and conversant during “Zonda.” Open ended conversations.
Pianist Scott Walton sits across from Tim Perkins’ electronic experiments for eleven telepathic conversations. Perkis lets his gadget box make percussive sounds as on “Blind Signature,” buzz like hovering bees during “Possible Objects B” and even lay down a bass line during “Zero-Knowledge Proof.” Walton for his part weaves in and out of the electronic wizardry with some dreamy Chopinesque lines on “Naked Egg,” guitar like pluckings on “Possible Objects A” and eerie starry nights during “Oblique Compact” and “Merkle’s Knapsack.” Is there a film to go along with this?