Jelly

by sheriff only photo by neale smith ......... ... ..... ............ .... .. .. ....d3NjaGFuZ2VkMS5qcGc=" target="_blank">a href="http://photobucket.com" target="_blank"> beautiful posters by Jillian Bainbridge: www.myspace.com/jillianbainbridge www.secreteye.org "Directing Hand...with Neilson joining the dots between seemingly mutually-aggressive musical strands such as dilated big-band improvisation ala Globe Unity Orchestra and Taj Mahal Travellers, the fractured experiments in time of The Shaggs and Henry Flynt & The Insurrectionists and the spontaneous breath poetics of Patty Waters, Keiji Haino and Charlie Feathers. The current Directing Hand line-up – consisting of Vinnie Blackwall on improvised vocals, cello, harp and harmonium and Neilson on drums and psaltry – represents the group’s starkest and most all-devouring incarnation to date. Blackwall is a classically trained vocalist, though she rarely makes a move that could be associated with any particular school. Sure, there are moments of tongue pressure that orbit the coronal art trance of early Meredith Monk or Julie Tippett’s work with the Spontaneous Music Ensemble circa One Two Albert Ayler but there’s also a ton of mystery in the way that she seems to incorporate snatches of mellifluous choral and early music melodies in between full-body soundings and vegetable wordage. When you first catch it, it’s as shocking as an Australian in cut-offs, but as you surrender your brain to the glorious see-sawing command with which she pilots the furthest vectors of her body into sound it seems to have the same connection to free jazz form as the divine madrigal stylings of Dolly Collins on Anthems In Eden and Love, Death & The Lady had to the triumphal melodies of the Albert Ayler Orchestra. Neilson’s playing is at its most formally aggressive throughout, detonating time by exploding any notion of accompaniment, response or precognition in favour of a profound simultaneity. Drummers have always been the revolutionary agents of musical change; switch up the beat and you reconfigure time, reconfigure time and you re-draw reality. In Neilson’s playing there is truly no past or future, simply Now over and over. Just one movement of his hands and then the next. And in a historical/cultural moment that feels as oppressively 4/4 as 2007, it feels like a fucking revolution." David Keenan, Glasgow , May 2007http://i152.photobucket.com/albums/s194/jellyhamster/fol k.jpg.. Home | Browse | Search | Invite | Film | Mail | Blog | Favorites | Forum | Groups | Events | Videos | Music | Comedy | Classifieds