‘Dreamland Mechanism’ – Beledo

Beledo

POWERING his way into the typically resolute MoonJune galaxy of contemporary jazz/rock recordings, US electric guitarist, multi-instrumentalist and composer Beledo releases Dreamland Mechanism – an impressively energised and virtuosic solo debut.

Something of a late-teen guitar hero in his native Uruguay, as well as neighbouring Argentina, Beledo moved to New York at the beginning of the 1990s – and his professional career has continued to flourish there, working with a panoply of big-name artists including Jimmy Haslip, Jeff Berlin, Randy Brecker and Gilad Atzmon. Now, for this dynamic solo project, he calls on a clutch of his associates – chiefly electric bassist Lincoln Goines and drummer Gary Husband, with contributions from Tony Steele, Doron Lev, Endang Ramdan, Cucu Kurnia, Dewa Budjana and Rudy Zulkarnaen.

Beledo’s experience of the changing face of jazz/rock fusion over the past few decades, and presumably an understanding of its ’60s/’70s roots, appear to be significant in the realisation of his compositions and these band performances – opener Mechanism, with Jerry Goodman-style violin flamboyance, summons the spirit of Mahavishnu; and reedy synth extemporisations alongside Lincoln Goine’s prominent, aqueous, electric bass in Marilyn’s Escapade easily echo the vibrancy of Zawinul and Pastorius. In an album of contrasts, such sunshiny, multi-coloured grooves are balanced with guitar rock-outs Bye Bye Blues and Big Brother Calling, their wailing synth/moog lines and soaring, echoic guitar solos perhaps recalling early ’80s Jeff Beck; and the strong, articulate drums and percussion of Gary Husband are particularly evident in these higher-octane outings, Mercury in Retrograde‘s guitar/bass/drum simplicity actually filling the room with effective, dramatic saturation.

Combining dual kendang and other percussion with Beledo’s acoustic guitar, Lucila produces an exotic, cross-cultural blend of Brazilian, Javanese and Flamenco influences – and tempered by richly lyrical electric guitar and fretless bass improvisations, this becomes a fascinatingly fluent, polyrhythmic journey. First impressions might indicate ‘an album style’, but closer investigations draw out the breadth of composition and instrumental colour across these fifty-six minutes, Silent Assessment rolling solidly to its deep bass undulations and attractive guitar riffs, as well as chiming, sweeping synths reminiscent of Dave Stewart (National Health, Bruford); and the perky, complex rhythms of Sudden Voyage are irresistible, Husband playing out of his skin(s).

Indonesian guitar star Dewa Budjana appears on sumptuous BuDJanaji – presumably a direct dedication, it’s characterised by Beledo’s shared, Lyle Mays-style vocal/guitar lines and his guest’s fine, Allan Holdsworth-like wide tremolo improvisations (both Budjana and Holdsworth are MoonJune artists). And Front Porch Pine is the perfect closer to this extravaganza – Beledo’s superb guitar electronics and speedy runs almost vying for dominance with Tony Steele’s mobile electric bass oscillations and Doron Lev’s relentless drums/percussion.

If you’re looking for good-time, well-produced, high-energy jazz/rock with especially piquant detail…… Dreamland Mechanism is available from the MoonJune Records website, as well as BandcampAmazon, etc.

 

Beledo
electric guitar
acoustic guitar (tracks 4, 8)
violin (track 1)
Fender Rhodes (track 1)
Mini Moog (track 2)
acoustic piano (track 3)
accordion (track 3)
fretless bass (track 4)
vocals (track 8)

Lincoln Goines electric bass (tracks 1, 2, 3, 5, 6, 7)
Gary Husband drums (tracks 1, 2, 3, 5, 6, 7)
Tony Steele electric bass (tracks 9, 10)
Doron Lev drums (tracks 9, 10), percussion (track 9)
Endang Ramdan lead kendang percussion (tracks 4, 8)
Cucu Kurnia kendang percussion (tracks 4, 8)
Dewa Budjana electric guitar (track 8)
Rudy Zulkarnaen electric bass (track 8)

beledo.com

MoonJune Records – MJR077 (2016)

‘Proof of Light’ – Mark Wingfield

Proof

IMAGINE the late ’70s progressive jazz/rock boom of Jeff Beck, John McLaughlin and AllanHoldsworth, and you might be somewhere on the right track to the music of Anglo-American electric guitarist Mark Wingfield. Yet here is a musician who has honed his own, specific approach to the instrument and, consequently, his original, heavy-duty compositions.

Recording for the first time with New York-based label MoonJune Records, Wingfield has partnered with two stalwarts of the current jazz/rock scene – bassist Yaron Stavi (David Gilmour, Phil Manzanera, Robert Wyatt) and drummer/percussionist Asaf Sirkis (Gilad Atzmon, Jeff Berlin, Tim Garland) – to forge an otherworldly vista of shifting, synthy textures and intense rock-outs. Mark Wingfield’s mercurial guitar technique, frequently at the highest extremity of the fretboard and coaxing extended pitch-bent effects from the tremolo arm, is what defines his signature sound, along with staggering rapidity of improvisation.

Foreboding opener Mars Saffron is instantly redolent of the brilliance of, say, Gary Moore, Jan Hammer or Simon Phillips, as Wingfield’s searing melodies soar over hard-driving electric bass and drums, only pausing briefly amidst synthesised washes. Shadowy Restless Mountains, jangling to metallicised strings, finds Sirkis revelling in its space… at his flamboyant, fire-cracking best; and The Way to Etretat becomes delightfully acoustic as Stavi’s upright bass extemporisations dance around Italian-suggested ambiences, with Wingfield’s later guitar re-entry elevating the whole atmosphere to cinematic soundtrack status (again, Sirkis is irresistibly explosive at the kit).

A mellower, Metheneyesque synth quality to Wingfield’s guitar is found in A Conversation We Had and A Thousand Faces, both offering Wingfield the freedom to elaborate with haunting lyricism. And energized, full-throttle Voltaic resounds to quickfire, rhythmic riffs and gritty, percussive, droned abstractness – echoing Keith Emerson’s roughhouse ELP extravagances, it’s quite a ride!

Summer Night’s Story is an engaging episode of fluctuating colours, Sirkis’ refracting cymbal show especially catching the ear. Koromo’s Tale seems to occupy a cathedral-like vastness, with oriental overtones, as Yaron Stavi’s double bass improvisations set up Wingfield’s own explorations; and title track Proof of Light closes the 54-minute sequence with Sirkis and Stavi supporting Mark Wingfield’s virtuosic, high-wire display before blazing white-hot at its conclusion.

A cursory listen to this album might call for greater variation or augmentation of the trio’s elemental sound – but once immersed in the detail, Proof of Light becomes an intoxicating journey of drama and outstanding technicality.

Further details and audio samples at MoonJune Records.

 

Mark Wingfield electric guitar
Yaron Stavi acoustic and electric bass
Asaf Sirkis drums

markwingfield.com

MoonJune Records (MJR071) – 2015