Arranged By, Composed By – Soloriens Native Unity Quartet
Alto Saxophone, Effects, Words By – Marshall Allen
Bass, Effects – Maxwell Boecker
Drums, Percussion – Kenito Murray
Tenor Saxophone, Mixed By, Producer, Design, Words By, Synthesizer, Voice, Percussion, Effects – James Harrar
Artwork [Cover Artwork] – Jefferson Eisenberg
This first vinyl offering by a sporadically 20-something years unit, still extant, originally assembled under the name Cinema Soloriens by filmmaker/musician James Harrar in 1993, to play accompaniment to his films. The line-up usually includes legendary Sun Ra alto master (and current Arkestra leader) Marshall Allen with Harrar (who is also known for his work with Arthur Doyle and Daevid Allen), plus whoever else is tapped. For this date, recorded in Nashville back in 2016, the quartet was completed by a pair of under-documented musicians from the Atlanta underground — jazz percussionist, Kenito Murray, and new music-oriented bassist, Maxwell Boecker. Together, the quartet unspools out two side long gushes of splotchy pan-generic FLOW.
The music this stuff most resembles (if you really need a genre peg to hang it on) is probably jazz. The blend of electronics and reeds certainly brings to mind warped passages of many private press early ’70s improv LPs, although most of those ended up devolving into funky traffic jams. Anywhere on Aerials and Antennas, the music starts to do something that might be described as “simmering,” things quickly get weird. A horn takes off for Saturn, a voice starts mumbling as though spare change was just one prayer away, or the electronics emerge from wherever they were hiding to begin alien discussions.
Not sure if there was a film shown with this or not, but the effect is cinematic. There’s a great and blobby light show going on in my head the whole time it plays, never quite deciding which direction its audacious motion is headed, but always looking for an exit door otherwise hidden by the dull planes of reality. Nice work.
Aerial and Antennas makes for a gloriously stoned listen, as mysterious in its motives as that second Charlie Nothing LP. And what the fuck was that one about? – Byron Coley, 2019