An album off free improvisations culled from the long-running Minneapolis duo of amplified acoustic guitarist Joseph Damman and multi-instrumentalist Milo fine, recorded in concert at Studio Toile d'Angles in 2018, with Fine performing on percussion, a Bosendorfer imperial piano, B-flat clarinet & marimba, for 8 pieces of explorative and accomplished dialog.
Format: CD Condition: New Released: 2020 Country: UK / EU Packaging: Jewel Case Recorded in concert At Studio Toile D'angles, in Minneapolis, Minnesota, on September 9th, 2018, by Milo Fine.
Personnel:
Milo Fine-drum set, Bosendorfer imperial piano, b flat clarinet, marimba
1. Nothing Is Worse Than To Be Coerced By Dialectic 17:30
2. The Bitter Wave 9:19
3. You Had A Promising Future Behind You 9:06
4. The Acceptance Of Sorrow 8:44
5. The Acceptance Of Sorrow (Postlude) 9:21
6. The Stench Of The Word; The Towering Babel 5:38
7. Burning House Choked With Newspapers (For Charlie) 6:26
8. Speaking The Long Name Of A Rope 6:38
sample the album:
descriptions, reviews, &c.
"I've been playing "acceptance of sorrow" a couple of times a day, and continue to be amazed at how well you and Joseph Damman fit together. He really seems to be able to latch on to wherever you're going (like during the piano segment of "nothing is worse") and come up with something that is his own while perfectly complementing what you're doing. I enjoyed the way everything seems to flow from one track to the next. Particular favorites were "you had a promising future behind you" (the alternately frantic and questioning clarinet seconded by like responses/answers from the guitar), the beginning of "the acceptance of sorrow," in which Damman seems to take the lead while you provide commentary on drums (it's almost like you're saying "No; it's over HERE" while he's saying "No; it's right where I'm sitting"), and the cymbal/drum (mostly) solo that begins near the end of "acceptance" and continues into "postlude." As I believe I've said before, I have a particular fondness for your solo drumming, which almost always brings on the mental state of going on a journey, and, in that respect this one was no different. Do you and other players ever talk about what you're going to play before you start? I ask because, on "mycelial cords," you and Damman sound SO in sync with each other that, if I didn't know better, I would think the piece had been written out note-for-note. And I like the way Damman seems to get the last word in at the end of "speaking the long name of a rope," the way it seems to fade out as if to say "there's more where this came from." And I hope there is."-Lou Santacroce (personal correspondence)