Wayne Peet Trio with Nels Cline and Russell Bizzett: What the? (PFMCD127)


Wayne Peet Trio: What the?

Wayne Peet – B# Organ, Clavinet, Theremin, FX
Nels Cline – Guitar, FX
Russell Bizzett – Drums

1. Capable Faith (11:25)
2. Devout Vulgarity (8:41)
3. Improv 1 – Immoral Dilemma (5:53)
4. Improv 3 – SpecialFeeling (15:00)
5. Chase To The Cut (3:08)
6. Hushbubba (4:37)
7. Improv 2- Above & Beyond The Bend (9:04)
8. Improv 4 – Momently (9:58)
9. What The? (7:36)

Recorded June 6 and 7, 2006
Edited, Mixed, and Mastered June to November, 2008

Newzone Studio, Los Angeles
Wayne Peet, Engineer
Aaron Druckman, Assistant Tracking Engineer
All “live” in the studio, no overdubs

Composed by Wayne Peet

©2006 Killzone Music, BMI
except “Chase to the Cut” by Nels Cline, @2006 Nebsonic Music ASCAP adm by BMG
Improvs by Wayne Peet, Nels Cline, and Russell Bizzett

Design and Layout by Don Raymond
Photos by Wayne Peet

Produced by Wayne Peet

Release Date: April 5, 2019


SKU: PFMCD127 Category:


  1. Post
    0 out of 5

    From: https://mrstusrecordroom.blogspot.com/2019/07/wayne-peet-trio-what-the.html

    Keyboardist, occasional bandleader, and recording engineer par excellence Wayne Peet has long been a mainstay of the Southern California improvised music scene. He first recorded with guitarist Nels Cline back in 1980 as part of a large ensemble led by bassist Roberto Miranda, and they’ve worked together sporadically in the decades since. Peet, Cline, and drummer Russell Bizzett are the Wayne Peet Trio, captured live in Peets’s Los Angeles studio over two days in 2006 for the just-issued What The? on the pfMENTUM label. An earlier edition of the band, with guitarist G.E. Stinson joining the fun, recorded Live At Al’s Bar in 1999, also for pfMENTUM. Here the trio stretches out at length on four of Peet’s tunes, Cline’s supercharged Chase to the Cut, and four group improvisations. Peet is heard mostly on organ, with little touches of clavinet and theremin. For the most part, the music just sort of flows along as riffs come and go. The focus drifts between Cline and Peet with no one voice dominant for very long. The music is often pretty laid-back, though they do build up a head of steam in parts of Capable Faith and again towards the end of the fifteen-minute extravaganza Improv 3 – Special Feeling, as Cline’s effects-laden guitar threatens to break things wide open. There’s also a deliciously rambunctious passage in the middle of Improv 2 – Above & Beyond the Bend. While organ groups tend to aim for danceability and a soulful, blues feeling, that vibe is mostly absent here in favor of an atmospheric approach to sound and the free exchange of musical ideas. Mostly, but not altogether, as the trio slams through the concluding title track on waves of electric guitar, snaky organ, muscular pedal bass, and Bizzett’s fierce beats. Peet’s musical world embraces the happy accidents of improvisation and the surprises that result from allowing the music to go in any direction. What The? is a kick, with thanks to Peet and pfMENTUM for rescuing this set from the archives.

  2. Post
    0 out of 5

    From: http://www.metaljazz.com/2019/01/record_reviews_wayne_peet_steu.php

    In 2006, keyboardist Wayne Peet invited guitarist Nels Cline and drummer Russell Bizzett into his studio to blast some of his tunes and jam. They had a hell of a time.

    You always encounter smilin’ beanpole Peet around L.A. as he works the keys, or devotes his great ears to studio engineering or live concert mixing. You see Bizzett here less, cuz the skinsdude (who sojourned with Tommy Bolin in the ’70s!) hangs mostly in San Diego. You can hardly avoid tripping over Nels Cline anywhere on the globe, since all musicians crave the thrill he injects into any damn genre.

    Here, the three execute . . . let’s call it fusion, laying down a groove or 40. Peet chordizes sensually and renders a separate bass unnecessary with rich low-end synthoplonks. Bizzett accents spontaneously while sustaining intense forward drive, much as Bolin pal Billy Cobham did. Cline whips up riffs, leans into bumpstock solo bursts or pumps volcanos of sulfurous smoke. Most of all, there’s chemistry.

    Four of the nine cuts are Peet’s, and they are beauts, milking soul gush, reggae abstraction, romantic ease and fusoid rumble. Cline contributes a funky riffslapper. And the rest are the kinds of jams you ain’t heard since Nixon, every participant free to stoke the party with whatever inspiration boils into his freaky ol’ head, from George Clinton to Pink Floyd to Throbbing Gristle. And ’70s Miles, one hardly need add. Don’t imagine it’s random, though, cuz this stuff develops and builds, the sequences surprising but never unconsidered. The totality emerges so full & polished, too — keep in mind we got a super-experienced wizard at the knobs. Use of surround-sound is strongly encouraged.

    The only moment I appreciated less than the rest was the discomforting sawtooth riff at the start of Track 1, a funny spot to hit a bump, but I got past that quick. Then it sailed like a yacht.

    All live, no overdubs! Wha? Naw. Yup.

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