the right moves

Ciao Babies -- for all practical purposes, who are we? Peter Evans, Ninni Morgia and Kevin Shea. But wait, gerbils -- there's more: ............................................. Peter is a trumpeter, improvisor, and composer living in New York City. He grew up near Boston, and moved to New York after graduating Oberlin Conservatory. He co-leads the New York Trumpet Ensemble with Mark Gould, is half of the duo Victrolophone, plays in the improvisation groups Imaginary Folk & Effects on Man and Animals, and leads a maximalist jazz quartet with Mary Halvorson, Moppa Elliott and Kevin Shea. Other collaborators have included Perry Robinson, Taylor Ho Bynum, Stefan Tcherepnin, David Taylor, Marcus Rojas, Butch Morris, and Dave Douglas .......................................................... Meanwhile, Ninni was kicking massive ass in Italy with White Tornado and some solo stuff before he ended up in New York. He plays also with The Freeway, Daniel Carter, Ocrabanza (also w/Kevin, and Christopher Meeder) etc .............................................. Meanwhile, Kevin plays in Coptic Light, People, Talibam!, Storm and Stress, Moppa Elliott's Mostly Other People Do The Killing (also w/Peter, and Jon Irabagon), Sexy Thoughts, and many other bands ................................................... Meanwhile, WE ARE THE RIGHT MOVES -- AND WE ARE HERE TO PLEASE YOU WHILE YOU WEAR YOUR PAJAMAS----------------------------------------------------- ------------------------------------------------------------ ------------------------------------------------------------ ---
The Right Moves "The End Of The Empire" CD Ultramarine Records
"On their 2007 debut This is Your Message, The Right Moves consisted of trumpeter Peter Evans, guitarist Ninni Morgia (La Otracina/Quivers) and drummer Kevin Shea (Talibam!/Storm And Stress). That line-up produced a raucous jazz/Noise hybrid, but The End Of The Empire takes a mellower tack. This is due in part to Evans being replaced by bassist Stuart Popejoy, but also to Morgia employing a more open, sky-seeking guitar style. Patiently doling out twangy echo and shimmering textures, the guitarist turns the Brooklyn based trio’s approach from jazz to jam. While the eight pieces here sometimes sound like beatless soundtracks, they often reach higher, into the territory occupied by Davis Redford Triad, Marble Sheep And The Rundown Sun’s Children, and Karl Precoda’s underappreciated Last Days Of May. “Meet You At The Black Sands” starts mysteriously and almost Wild Western in style before escalating into an enveloping thundercloud, while on “When We Were American” Popejoy’s and Shea’s initially sparse rhythms congeal unpredictably into clusters of beats. The group follow those with the somewhat stagnant “Cleaning Up The Desk”, whose lethargic motion seems to be about waiting for a kickstart that never arrives. 

That’s a rarity though. Most of The End Of The Empire leans toward the heights of its best track, “Living Underground”, a revving rumble in which Morgia bends and buffs his fiery tones like Jimi Hendrix to fit the rhythmic shuffle that surrounds him. It feels odd to say any group could be better without Peter Evans, but tracks like that one makes a pretty convincing case for the increased sonic coherence created by this line-up of The Right Moves". Marc Masters, The Wire Magazine
"Like a slightly tamer Fushitsusha, the Right Moves take no prisoners, each track a blistering display of dynamic shifts, whiplash rhythmic precision and timbral prowess, all in incredibly brief snatches of time. Like much of Evans’ justly acclaimed solo Psi release, This Is Your Message’s first ten seconds demonstrate his huge arsenal of shrills, airy pops, ghost notes and high-register exhortations. For more, there are the almost human moans and whines that open the final piece, supported by guitar slides (Ninni Morgia) and percussive rustlings (Kevin Shea). Like Seabrook, Morgia’s approach to the guitar is fluid, both in terms of technique and sonic innovation. Indeed, these three players’ shared vision of disciplined diversity keep the disc from getting stale, which it might have done in less capable hands. The beautifully droney opening of “Chubby Bartender” is a case in point, a moment of sublime contrast to what precedes and follows it." (All About Jazz review) ------------------------------------------------------------ ------------------------------------------------------------ --------------------------------------------