Brad Dutz and John Holmes: My Bongo (PFMCD012)

$10.00

Percussion Duos
list of axii used:
1. Gongs, Cymbals, Cupchimes
2. Kidi, Sogo, Kagan
3. Indianbells, Bird Call, Cymbals, Springs, Gongs, Pods, Harmonica, Conga, Drumset
4. Marimba, Drumset, Woodblocks, Cupchimes
5. Bellchimes, Pandiero, Congas, Drumset, Arp Axxe, Cowbells
6. Eight Metal Discs, Cupchimes, Pods
7. Xylophone, Steel Drum, Drumset
8. Two sets of Bongos
9. Drumset, Congas, Bongos, Cymbals
10. Vibes, Drumset
11. Tabla, Drumset, Caxixi, Gyli, Melodica
12. Crotales, Drumset, String Cajon,
Tar-Ine, Bongos, Waterphone
13. Gyli, Drumset, Cajon, Kagan, Kidi, Sogo, Bowed Crotales
14. Glass Marimba, Drumset
15. Bougarabous, Bongos, Drumset
16. Gongs, Cymbals, Cupchimes

Track List:
1. We Like Gongs 5:14
2. Ewe Day 3:18
3. Indiana 2:27
4. Peanut Jelly 3:43
5. Caught In The Middle 4:22
6. Klem 5:09
7. Croquets 4:35
8. My Bongo 2:30
9. Tribute To Elvin 6:36
10. B-17 Apricot Seeds 4:04
11. DuoSolos 5:55
12. Pig On Cow 6:39
13. Another One Pumpkin 4:54
14. Is She Mute 3:28
15. Bougarabou 4:53
16. We Still Like Gongs 4:12

Tracks 2, 6, 7, 9, 10, 14 and 15 by Brad Dutz
©2003 Leaky Spleen Music, BMI

Tracks 4, 12 and 13 by John Holmes
©2003 Cymblicity Music, BMI

Artwork by Kaoru, Cover: Iro #212, Back: Iro #168
Recorded by Brad Dutz. CD Mastered by Wayne Peet

Layout and Design by Jeff Kaiser
pfMENTUM CD012

PFMCD012

SKU: PFMCD012

Reviews

  1. 0 out of 5

    Clever and agile percussion that seems to sample every style and hits just about everything that might offer percussive possibilities.

    bart plantenga, Wreck This MeSS, Radio 100 / Radio Patapoe

    “For every player who can pull off an album of percussion alone (for instance, Fritz Hauser, Gerry Hemingway, or Glen Velez), there are numerous others who, despite being fine players in traditional groups, are bombastic, self-indulgent, or, worst of all, boring when it comes down to just percussion. Drawing on a number of musical traditions including jazz, African, and classical music, Brad Dutz has enlivened the groups of such heavy improvisers as Vinny Golia and Michael Vlatkovich, but how does he fare when paired with only fellow percussionist John Holmes? Quite well, actually.

    The two men wisely bring a huge number of instruments into play here, ensuring that the palette remains varied in a potentially static context. This includes some familiar instruments (drumset, bongos, tabla, etc.) as well as vibes, marimba, steel drums, and an encyclopedic range of gongs and cymbals.

    The music is similarly diverse, ranging from African-sounding pieces to jazz tributes to ambient music made of sustained cymbal sounds. Contrary to what some might expect from two drummers, countable rhythms are absent on some tracks, particularly early in the album, and these tend to be less immediately interesting. Careful attention is rewarded by the precise interplay of metal discs and cupchimes on “Klem” or the atmospheric “Indiana” (not the jazz standard), but if listened to as background music these tracks will sound like semi-random clatter.

    Things pick up for the album’s second half with “Tribute to Elvin.” Rather than imitating the man?s ferocious energy, Dutz and Holmes construct a minimal jazz waltz out of delicate cymbal work and expertly placed conga accents. It?s an intelligent and surprisingly fitting homage to a man who revolutionized jazz percussion.

    A vibes-drums duet, “B-17 Apricot Seeds” will in some ways be the most conventional piece for free jazz listeners. Building from an abstract theme, the written and the improvised are virtually inseparable. Unpredictable both melodically and rhythmically, it nevertheless hints strongly at contemporary classical music and some of the AACM’s work.

    Evocative grooves characterize the later tracks, arguably the strongest on the album, and one wishes that a few of these more accessible tracks had been placed at the beginning of the album. These continually inventive pieces, particularly the propulsive “Pig On Cow” or the exquisite glass marimba-drums duet “Is She Mute,” are almost enough to quell any misgivings I had about the album’s first half.

    Not quite intense enough to be consistently compelling, “My Bongo” should at least be heard by any percussionist. The beautiful second half makes up for an interesting but slightly flawed first. For the average listener, it is a quiet album that demands and rewards a few patient listens.”

    – -David Vance, http://www.jazzweekly.com/

    Brad Dutz / John Holmes
    My Bongo
    (PfMentum)
    Deze cd werd begin dit jaar uitgebracht, maar heeft pas nu het vasteland bereikt. Het propvolle schijfje bevat de recentste composities van dit duo percussionisten. Ze zijn gespecialiseerd in het soort percussie-instrumenten die we in onze lagere schooltijd ook al eens in de muziekles mochten hanteren: cimbalen, gongen, belletjes, conga’s en xylofoon naast een hele resem exotischer aandoende ringedingetjes waaronder Senegalese drums, tabla, kidi en kagan. Het resultaat klinkt niet als een kakofonie van een stel lawaaierige schoolkinderen maar varieert van ritualistisch aandoende excursies over drones tot jazzy melodietjes waarbij de herkomst van de geproduceerde geluiden niet te achterhalen valt. Bij elk nummer staat op het cd-hoesje netjes genoteerd welke percussie werd aangewend, maar het totaalgeluid is wat ons het meeste intrigeert. Telkens weer weet het duo te verrassen zonder tot oeverloos geëxperimenteer te vervallen. ‘My Bongo’ is meteen een stuk toegankelijker dan het Brad Dutz Percussion Quartet, waarbij de heren nog een stapje verder gaan: alleen recycleerbaar afval komt in aanmerking om als muziekinstrument te dienen. Uit te checken door hen die graag de bongo tegen de cimbaal gooien.
    (patrick bruneel) Gonzo Circus, Belgium

    “This album has [16] cuts made up of various ‘axii.’ Here we get gongs, cymbals, kidi [whatever these are], Indianbells, Pods, Congas, drumsets, bellchimes, metal discs, arp axxe, Bongos, cajon, Gyli, crotales, cupchimes, steel drums, and many many more. There are sounds galore. Ever wondered what kidi, sogo, and Kagan sound like together? Listen to cut #2. Each of the 16 tracks gives us a little bit of a musical education plus lots of interesting sounds. Some of these might even be grabbed by a creative programmer and appear as ‘effects’ for commercials. But the sounds really are meant to be heard and enjoyed in their pure essence. It is a CD that plays on and on. Some long tracks. Something truly different.”

    -The CRITICAL REVIEW Service, 2523 Montana, El Paso, TX 79903, Eyeear7@Hotmail.com

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