Dylan Howe -Subterraneans
Subterraneans
How does art hit you in the
solar plexus and immediately become part of your musical life a friend
forever.
When it offers some thing you
have always wanted to hear that you had a latent ambition for and it offers it
with a mixture of intelligence, knowing musical authority and most important of
all it communicates to you emotionally
The first piece opens with a
great atmospheric chord (the opening chord of CTTE me thinks) and then panther
like a sexy lugubrious double bass figure stalks the music urging all the other
music to flirt with the motif. If you
think of all those jazz chanteuse offering deep smoky voices this is the
instrumental equivalent. Dylan is fantastically sympathetic through out. It is
the anthesis of prog rock doodling.
Weeping Wall starts off
sounding like a rehearsal and then gets all formal with vibes playing the
melody and great “random piano playing”.
The tune emerges with another late night sophisticated feel and develops
a shuffling semi improvised feel. Everyone ticking along, never losing sight of the great tune their
playing.
All Saints begins with the
stand up bass asking all sorts of questions of the melody whilst again Dylan
ridiculously understated joins in the conversation. This is music for the mind
that lingers long enough to draw you in and now a twist in comes the melody stated as a
riff on a synthesiser followed by a lovely musical surprise and they charge off in
a playful run where the Tenor (Coltrane) Horn leads, my emotional
response is I am intrigued, stretched and delighted. The piece takes this
schizophrenic path twice more with the piano featured the second time ad the
bass closely followed by the tenor and piano a third time. A classic piece of
construction, a real achievement.
I will avoid a simple linear
account of what is on offer but the theme is set with great sympathetic
interpretations of Bowies melodies recast into jazz ensemble arrangements
always offering surprises and straightforward payoffs in equally measure. Like all the classic music projects it has
width and vision but it is incredibly focused they know what this music is all
about what territory they are operating in.
Warszawa opens with the most
expansive and ambition electronics and then Dylan strokes the drums through another
highly atmospheric piece.
At this stage in the
proceedings you begin to think where are the main contributions coming from and
my conclusion is this is a group effort. The Horn playing is arguably the most
distinct solo contribution but it’s the sense of cooperation between the keys,
drums and bass which are so sympathetically offered that defines the feeling of
the music.
So a wonderful adult set of
music played with the right amount of flare, and invention from a highly
co-operative viewpoint where everyone fails to dominate. But like the best art a surprise and right at
the end.
Moss Garden is a collective
musical meditation. The piano player sets up the musical boundaries with a
repeated figure of 10/11 notes and then a wash of keyboards tinkling every so
genteelly usher in the drums and the ensemble including Mr S Howe evolve a
gentle musical conversation where the space between the notes is as important
as the notes played. The keyboards flirts with what sounds like a Koto back
and forth. This is warm communicative magical music where economy is
everything. It is also a wonderfully visual piece I imagine Dylan in the centre
coaxing responses out of all the players.
Dylan should be delighted
with this work. There is so much music contained therein that it defines who he
is as a musician. He never tries to hard or becomes unclear about where he is
taking this project and as a result the music and the players flourish offering
up some thing intriguing, compelling and highly communicative all at the same
time.
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