Phillip Greenlief & Scott Amendola — Stay With It (Clean Feed)
Photo by Lenny Gonzales
If the name of this record represents advice given to oneself, saxophonist/clarinetist Phillip Greenlief and drummer Scott Amendola have definitely followed instructions. Both residents of the Bay area, they’ve been working together for 30 years, sometimes in larger ensembles but also as a duo. Thus, while between them they’ve played with Fred Frith, Nels Cline, Mike Patton, Susan Alcorn and members of ROVA, their shared partnership is also one of their most enduring creative endeavors.
The rapport fostered by lengthy collaboration gives Stay With It an air of effortlessness. Take “Eloquent Turbulence,” for example. Greenlief’s Bb clarinet lines float over Amendola’s spare brushes-on-snare accompaniment, involved their intricate development, but when the drummer inserts a sudden shift to kick drum and toms, he’s right with him, switching tone and texture to match. Amendola shifts again to a stew of electronic twists and sizzling static, and Greenlief knows just what to do, burrowing into the maelstrom and coming back up with dolphin-like grace.
Amendola’s real-time electronics figure more prominently on “Microfiche,” setting up a continuously morphing back-of-the-workshop clatter. Paradoxically, Greenlief’s tenor sax feels more idiomatically post-bop, tracing adroit, vinegary shapes in close proximity. He seems to sense the implied rhythms inside Amendola’s abstracted commotion and find sure footing upon their traces. And then they come together, long tones combining with transistorized stutters like woven cloth.
“Farfalle Alle En Mare” takes things even farther out. The effects on Amendola’s metal percussion make each strike squiggle, as though a deejay had snatched it out of the air, pressed it into vinyl, and then rocked the record back and forth on the turntable. Greenlief responds with striated, breathy sounds that are as ultra-natural as Amendola’s are transformed, but are nonetheless so un-reed-like that I checked the sleeve to see if he was playing trumpet. For music like this to work, the duo have to have a common aesthetic that informs their responses, a shared sense of what wrong-ish sounds go right together.
Bill Meyer
6 notes
·
View notes
Holy shit??
Don't stop talking about the Palestinian genocide. IT'S WORKING.
84K notes
·
View notes
Nobody throws shade like a biologist with burning hatred for invasive plants
37K notes
·
View notes
"Sir, she didn't feel any better after a We Stay Silly"
"What about a Fuck it, We Ball? Did we try that?"
"Ineffective, sir. We even launched an It Is What It Is, but nothing seems to be working"
"My god... It's worse than we thought"
20K notes
·
View notes